tag:blogger.com,1999:blog-786934403154990603Fri, 09 Dec 2016 14:26:12 +0000psychogeographyuniversity of leedsschizocartographytina richardsonWalking Inside OutBritish psychogeographyLeedsthe new psychogeographyFélix Guattaristepzurban spacesituationist internationalRoland BarthesideologyIain SinclairHunstantonRowman and Littlefield InternationalGuy DebordMichel FoucaultcapitalismcartographyChamberlin Powell and BonHenri LefebvreHorsforthJacques LacanLouis AlthusserheadingleyChamberlin Powell BonSigmund Freudexcellenceleeds psychogeography group"university of leeds"AlthusserBill ReadingsDarrant HiniscoGilles DeleuzeManchesterSt George's FieldUrban GerbildeconstructionkitschmythogeographyDeleuze and GuattariFrederic JamesonGuilty PleasuresHolbeckJohn Cooper ClarkeLondonMerlin CoverleyOwen HatherleyPsychogeography NewsRoger Stevens Lecture TheatreRowman and LittlefieldTheodor AdornoUCUarchitecturecapitalfoucaultneoliberalismsituationistuniversityurban aestheticswalking26 psychogeography stationsDavid Prescott-SteedEd RuschaFelix GuattariIan MarchantJacques DerridaLeeds General CemeteryLoitering With IntentMark FisherNorfolkOf Other SpacesParkinson CourtPhil SmithPhil WoodSean RowleySituationistsThe Practice of Everyday LifeTravis Elboroughbetween the Rollerama and the junk yardcampus architecturederridadesiredérivenicolas bourriaudperambulatory hingestwentysix psychogeography stations"guy debord""urban space"A.N. ShimminAlastair BonnettAlex BridgerAlly StandingAnna ChismArmley MillsBaudrillardBrutalist ArchitectureConcrete Crows and CallusesContemporary British PsychogeographyDebordE C StonerEcritsGerry TurveyHeideggerIndustrial NorthLeeds CharterLeeds Industrial MuseumLos AngelesMarxMay 1968Michel de CerteauMorag RosePeter WattsPublic Sector StrikeRelational AestheticsRoy BayfieldSCRIBThe Logic of SenseThe University in RuinsWalking in the CityWestin BonaventureWoodhouse Cemeteryaestheticsbecoming-animalbecoming-imperceptiblecemeteryheterotopiaheterotopiasideological State apparatuslatentmanifestmappingmapsnostalgiaparticulationsschizoanalytic cartographiesseaside resortsemioticsspace and placethe University of Leedsthe citytransversalitytwentysix gasoline stationsuniversity architecture"Chamberlin"Iain Sinclair" psychogeography "University of Leeds" "Charles Morris Hall""bill readings"bill readings"10ccA Thousand PlateausA.J. TaylorAbraham MaslowAlexander John BridgerAlexander TrocchiAlfred WatkinsAndrea CapstickAndy TurnerArthur MachenBirminghamBrian MassumiBrutalistBunhill FieldsChaosmosisCharles MorrisChristine BairstowChristopher CollierCindi KatzCognitive MappingColin RoweCollage SeasideCultural StudiesDavid HarveyDavid PinderDavid R. JonesDe CerteauDiscipline and PunishDreadlock HolidayEdmund Clifton StonerElain HarwoodEnglish HeritageFourth World Congress of PsychogeographyFred KoetterFreudFèlix GuattariGareth E. ReesGeoff NicholsonGrand DépartHermann BrochHolbeck Urban VillageISAJames JoyceJohn RogersKirkstall RdLaidlaw LibraryLeeds Owl TrailLofthouse Park Civilian Internment ProjectLoiterers Resistance MovementLuke BennettMarjorie and Arnold ZiffMaurice BeresfordMichael SandersonMidnight at the MiroMolecualr RevolutionNietzscheOn WalkingOn the Poverty of StudentsOne Kemble StreetParticulations PressPatrick KeillerPauline Mavis WhitePostmodernismPowell and Bon"President TrumpRaoul VaneigemReinhold MartinRichard SeifertRoger StevensRuhlebenSTEPZ IISt George's Field. 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Elain Harwood4064749 Rivington StreetA Psychogeography of LewesA SpireA Walk in the ParkADCSAireAlan HorsfieldAlexander SokurovAlice AndersonAlice in WonderlandAlistair BonnettAmy DawsonAnarchist Developments in Cultural StudiesAndrew CalcuttAnish KapoorAnna MintonAnthony BurgessAnti-OedipusAnti-Public Relations NoticeAnton VagusApocalypse NowArjun AppaduraiArmleyArndale CentreArt DecoArt of NoiseAshley ThompsonAtlas of Improbable PlacesAugust 2011Axis of ExplorationAxis of Exploration and FailureAxis of Exploration and Failure in the Search for a Situationist "Great Passage"Axis of Exploration and Failure in the Search for a Situationist ‘Great Passage’Bail BondBaker Lane GranaryBarbican EstateBayes RecordiumBear PitBen HighmoreBeyond the Pleasure PrincipleBlue PlaquesBob PalmerBodington HallBonfire NightBook TalkBoston SquareBoy about campus//Bracha EttingerBrian GonnellaBrian JarvisBrickhouse DudleyBridgewater PlaceBrontesBrown ReportBrowne ReportBrowniesBrutalist London MapBulle OgierBungleC30 C60 C90 GoCamp BastionCandle HouseCaptain WillardCar Park Appreciation SocietyCardigan FieldsCardigan RoadCarey JonesCastings HouseCathy TurnerCeline CondorelliCentreChamberlinChambordCharles Sanders PeirceCharlotte DeponeoChernobylChildren's Recovery HomeChristian NoldCivilization and its DiscontentsClark KerrClayton WoodClockwork OrangeCloud GateCo-optingColin EllardCollage CityCollyhurstColonel KilgoreColonel KurtzCommissioning EditorConcrete Crows CallusesCongress on the Dialectics of LiberationCool for CatsCrash RecordsCreative CommonsCritique of JudgementCrying BoyCultural OutreachCultural RelationsCustom HouseCybercartographyCynthia HardyD. 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MaxwellGradivaGranary WharfGrand Départ YorkshireGregory ReveretGround ControlGuide PsychogeographiqueGyatri SpivakHalloween University StrikeHancock and SpicerHawksworth WoodHeadingley LaneHegelHenry BellHeritage QuayHermitage MuseumHidden BritainHierarchy of NeedsHistory of ArtHolbornHolme-next-the-SeaHorsforth LibraryHoward SteinHunslet Engine CompanyHunstanton Civic SocietyHunstanton promenadeHyde ParkHélène CixousIan DuryIan MacShaneImmanuel KantIndependent Record Store DayIndependent WomanIndependent WomenIngram Road Primary SchoolInsect HotelIstanbulIt's Not CricketIvan ChtcheglovJ G BallardJ M TyreeJ and H McLarenJ30Jack the Ripper MuseumJacques RivetteJames Joyce SymposiumJean BaudrillardJean-Francois LyotardJean-François LyotardJean-Françoise LyotardJean-Luc NancyJeff BelangerJeff KoonsJenny HydeJeremy BenthamJerusalem ColportageJim LawrenceJim WhelamJoe GerlachJoel GreenbergJohn DeeJohn ReesJonathan MeadesJonathan RabanJonathan Raban. 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HaworthStephen CairnsStephen MarlandStoke Newington Literary FestivalStonehengeStratfordStratford E15StravageStudentificationSuperimposed City ToursSylvia BarnardTJC3/22TJC3/22ATUCTailor of TasteTemple WorksTerry EagletonThe Assault on UniversitiesThe Autonomy of AffectThe BarbicanThe Crying of Lot 49The Fourth World Congress of PsychogeographyThe German IdeologyThe Great WalkThe Great WenThe Green LadyThe Henry Moore InstituteThe HubThe Leonardo CollectionThe London Anti-UniversityThe New MonumentalityThe People's History MuseumThe Precession of the Simulacra’The Prior of St WilfredThe Priory of St WilfredThe Production of SpaceThe Purloined LetterThe Revolutionary Pleasure of Thinking for YourselfThe SamaritansThe Scene of TeachingThe SituationistsThe SrawbsThe Studentification of Urban SpaceThe Three EcologiesThe Truth in PaintingThe Yorkshire CollegeTheory of the DériveThis is Spinal TapThomas PynchonTim WatersTimes Higher EducationTinaTom McCarthyTom McDonoughTony BirksTop WithensTop WithinsTown and GownTrinity LeedsTwenty Six Psychogeography StationsUELUlyssesUneasy Sunny Day Hotsy TotsyUnisonUniteUnite GroupUnite StudentsUniversity and College UnionUniversity of East LondonUniversity of HuddersfieldUniversity of LiverpoolUpper Heights FarmUrban StoriesUrinary SegregationV. SandersonValentine CourtValerie CarrVanishing StreetsVarelaVaughan HouseVideo StrollsVietnam WarVisions of the CityW. H. G. ArmytageWakefieldWalk MagazineWalter BenjaminWalthamstowWearyall HillWestfieldWhite PaperWilhelm JensenWill Self PsychogeographyWill Self in BristolWilliam BlakeWilliam NiederlandWilliam WhyteWillowWomen and WalkingWoodhouse Cemetery Defence OrganisationWoodhouse MoorWoodside Train StationWorsleyWriting machinesWuthering HeightsWymondham CollegeYorkshireYou Were Herea psychogeography and urban aesthetics zineadvertisingaesthetic capitalismaesthetic paradigmaffectaltermodernanimal activismanoulipismanti-psychiatryantiuniversityartists's bookassemblageaugmented humanityautobiogeographyautopoiesisbecause no reasonbecoming-womanbiodiversitybobbinsbody-politicbrandbureaucracyburialburleycampuscampus mapscapital accumulationcarrstonecartocrafterychaos magickchromatographycityclass wargamescolportage phenomenon of spacecommunitycommunity mappingcookie catchercopy editorcultural theoristdadadeathdeep topographydeleuzedenudementdesigndeterritorializationdigital contentdiscours surs les passions de l'amourdiscourseeditingemotional mappingenunciationevilexplorationfantastic voyageflaxfort dagendergentrificationgeo appsgeographical imaginationsghostghost walksginger hairginger prejudiceglobalisationgroup psychologyguattariguest lecturehappy accidentsheadingley Holeheterogeneoushyperrealityings Lynninstitutionjamesonjohn taggkirkstall valley nature reservelacklandscapelate capitalismlearning resourcelecturesliminal spaceliminalitylix Guattarilow-rise livingmachinic phylummagpiemanuscript proofreadingmapmemorial benchesmemorialsmemorymetalanguagemichael dearmodel of studentificationmolecular revolutionmourningmultistorymultiversitymythnaked citynaked universitynarcissismnarrativenewslettersoverdeterminationoverdeterminedpaper fortune tellerparergaparergonperambulatory hingeperegrineperformativityphenomenologypiazzaplace memory affectplaces of consumptionplazapolice stationpost-Sinclairianpostcardspostcolonial theorypostdocpostmoderismpostmodern geographypostmodern topographypostmodernitypoststructuralismpower structurespresupposed actualizationprisoner of warprisoner of war campproofreadingpsychoanalysispsychogeography 101psychogeography lessonpsychogeography resurgencepsychogeography revivalpsychogeography zinepsychologypsycogeographypublic housing policypublic realmpublic spacerealityredbrickredwingsrefusereligionrepresentationreterritorializationretrospectiverevolutionroadworksrob krierrubbishruin pornscholarseasidesensecamsensory walkingsexualitysignificationsignifiedsignifiersimulationslumssmartwatersmellscapessocial city reinscribe involve belongsocial historysocial justicespectaclest michael's churchst michaels churchsteven flustystreet photographystrikesstrollstudent proteststudents at the heart of the systemsub-stationsubjectsymbolic ordertailoringterrainterritorythe SCRIB projectthe burden of representationthe dérivethe house that jack builtthe idea of the universitythe metaphysics of representationthe model studentthe otherthe panopticonthe phallusthe subjectthe supplementthe tracethe uncannythe unconscioustheatrethird stage of capitalismthirdspacetopographytraversetuition feesuncannyunheimlichunrealurban cultural studiesurban explorationurban imaginaryurban planningurbanizedvicaragevisual artwalkwayswayfindingwidowhood effectwill to powerwish you were herewood pigeonworkerslunchtimewritingyetizine£1.1 Billion Surplus“disciplinary power”ParticulationsA psychogeography and cultural theory bloghttp://particulations.blogspot.com/noreply@blogger.com (Particulations)Blogger348125tag:blogger.com,1999:blog-786934403154990603.post-3649117990361695921Tue, 06 Dec 2016 09:30:00 +00002016-12-06T09:30:55.098+00:00Listening LinesThe SamaritansListening Lines - The Samaritans<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-6ZZENAb4IAs/WEaCSMI1heI/AAAAAAAACvU/zANPAHpS1tUJNP2huokaCgCXi91kio91wCLcB/s1600/Samaritan%2BLogo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="216" src="https://1.bp.blogspot.com/-6ZZENAb4IAs/WEaCSMI1heI/AAAAAAAACvU/zANPAHpS1tUJNP2huokaCgCXi91kio91wCLcB/s320/Samaritan%2BLogo.jpg" width="320" /></a></div>Yesterday a friend on Facebook posted a reminder about how difficult it can be for some people at Xmas time, and he put up the phone number for the <a href="http://www.samaritans.org/">Samaritans</a>. From the UK you can call from any phone on: 116 123.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-MTIYSUGqs9E/WEaDbVHfW9I/AAAAAAAACvc/H2JPOP_8Mn4NDQmiSEh8QeiuLK0tlR6zgCLcB/s1600/Samaritans%2BBook.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-MTIYSUGqs9E/WEaDbVHfW9I/AAAAAAAACvc/H2JPOP_8Mn4NDQmiSEh8QeiuLK0tlR6zgCLcB/s320/Samaritans%2BBook.jpg" width="217" /></a></div><br />This post sparked an interesting discussion about the Samaritans, and I added that one of my family members was a Samaritan for 20 years and that there was a book of poetry called <i>Listening Lines</i> (Arrival Press 1995) that was written by volunteers and edited by Suzy Goodall. This is the poem of hers that was included, but there are many other touching ones in there, too. This poem was about a young homeless man living in King's Lynn, who visited Trixie at the Samaritans regularly, to talk to someone who cared, to sit in a warm room for a short while and drink a hot cup of tea:<br /><br /><b>UNTITLED</b><br /><b><br /></b>He comes again,<br />Same life, same story,<br />Same despair.<br /><br />Happy now,<br />No more strife.<br />He takes his life.<br /><br /><b><i>Trixie</i></b>http://particulations.blogspot.com/2016/12/listening-lines-samaritans.htmlnoreply@blogger.com (Particulations)0tag:blogger.com,1999:blog-786934403154990603.post-2721378239746562685Mon, 05 Dec 2016 10:39:00 +00002016-12-05T13:15:09.097+00:00Psychogeography News - December 2016<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-nMLZfBgpOXc/WEVDyDBWszI/AAAAAAAACvE/fvXzO167viU5QJqfm_vRhw1acCFGVBCjQCLcB/s1600/20160520_131411.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://1.bp.blogspot.com/-nMLZfBgpOXc/WEVDyDBWszI/AAAAAAAACvE/fvXzO167viU5QJqfm_vRhw1acCFGVBCjQCLcB/s320/20160520_131411.jpg" width="320" /></a></div><strong style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;"><br /></strong><strong style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">Books</strong><br /><span style="background-color: white; color: #202020; font-family: &quot;helvetica&quot;; font-size: 16px;">Roy Bayfield’s new book,&nbsp;</span><a href="http://www.triarchypress.net/desire-paths.html" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank"><em>Desire Paths</em></a><span style="background-color: white; color: #202020; font-family: &quot;helvetica&quot;; font-size: 16px;">, is now available (Triarchy Press). Paul Scraton’s&nbsp;</span><a href="https://www.influxpress.com/ghosts-on-the-shore" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank"><em>Ghosts on the Shore</em></a><span style="background-color: white; color: #202020; font-family: &quot;helvetica&quot;; font-size: 16px;">&nbsp;has just been published by Influx Press.&nbsp;</span><a href="https://metalanddust.org/2016/09/01/narins-towns/" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank"><em>Nairn’s Towns</em></a><span style="background-color: white; color: #202020; font-family: &quot;helvetica&quot;; font-size: 16px;">&nbsp;is a collection of Ian Nairn’s writings, introduced by Owen Hatherley.</span><br /><br /><strong style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">The City</strong><br /><a href="http://www.whitenoise.city/" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">White Noise</a><span style="background-color: white; color: #202020; font-family: &quot;helvetica&quot;; font-size: 16px;">&nbsp;is an art-based blog about people and the city. This is Andrea Gibbons website on the relationship between the country and the city:&nbsp;</span><a href="http://writingcities.com/" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">Writing Cities</a><span style="background-color: white; color: #202020; font-family: &quot;helvetica&quot;; font-size: 16px;">. Here is a post called&nbsp;</span><a href="http://www.thelearnedpig.org/a-new-map-of-berlin-november-2016/3830" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">A New Map of Berlin</a><span style="background-color: white; color: #202020; font-family: &quot;helvetica&quot;; font-size: 16px;">&nbsp;about cycling in Berlin.</span><br /><br /><strong style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">Walking Related Posts and Blogs</strong><br /><span style="background-color: white; color: #202020; font-family: &quot;helvetica&quot;; font-size: 16px;">Slow Travel Berlin has a post by Paul Sullivan on&nbsp;</span><a href="http://www.slowtravelberlin.com/walking-the-city/" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">Walking in the City</a><span style="background-color: white; color: #202020; font-family: &quot;helvetica&quot;; font-size: 16px;">&nbsp;and&nbsp;</span><a href="https://wtlh.wordpress.com/" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">Walking Through London’s History</a><span style="background-color: white; color: #202020; font-family: &quot;helvetica&quot;; font-size: 16px;">&nbsp;is a new project by students at Goldsmith’s (run by John Price).</span><br /><br /><strong style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">Situationist Stuff</strong><br /><span style="background-color: white; color: #202020; font-family: &quot;helvetica&quot;; font-size: 16px;">Derek Hales is giving a&nbsp;</span><a href="https://www.eventbrite.co.uk/e/ralph-rumney-talk-square-chapel-halifax-tickets-29247822023" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">talk</a><span style="background-color: white; color: #202020; font-family: &quot;helvetica&quot;; font-size: 16px;">&nbsp;in Halifax on Dec 12 on Ralph Rumney and psychogeography. You can read a post entitled Salvaging Situationism: Race and Space by Andrea Gibbons&nbsp;</span><a href="http://salvage.zone/in-print/salvaging-situationism-race-and-space/" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">here</a><span style="background-color: white; color: #202020; font-family: &quot;helvetica&quot;; font-size: 16px;">.</span><br /><br /><strong style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">My Stuff</strong><br /><span style="background-color: white; color: #202020; font-family: &quot;helvetica&quot;; font-size: 16px;">In November I was interviewed on Radio Fabrik in Salzburg for the Geographical Imaginations project by Kevin S. Fox - you can listen to the podcast here:&nbsp;</span><a href="http://www.geographicalimaginations.org/season-three/" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">Psychogeography 101</a><span style="background-color: white; color: #202020; font-family: &quot;helvetica&quot;; font-size: 16px;">. Here is an up-to-dated list of the guest posts on&nbsp;</span><a href="http://particulations.blogspot.co.uk/2016/04/particulations-guest-blogs.html" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">Particulations</a><span style="background-color: white; color: #202020; font-family: &quot;helvetica&quot;; font-size: 16px;">.</span>http://particulations.blogspot.com/2016/12/psychogeography-news-december-2016.htmlnoreply@blogger.com (Particulations)0tag:blogger.com,1999:blog-786934403154990603.post-7264248598971334397Mon, 28 Nov 2016 09:29:00 +00002016-11-28T09:29:58.425+00:00geographical imaginationsKevin S. Foxpsychogeography 101Radio FabrikPsychogeography 101 - Geographical Imaginations Interview<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-v3xYfPH0SBQ/WDv48htxQ4I/AAAAAAAACu0/CBWeBqK1_C4ZH3hcj3N130UYthJu5PgQgCLcB/s1600/Tina%2BWindow%2B1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://1.bp.blogspot.com/-v3xYfPH0SBQ/WDv48htxQ4I/AAAAAAAACu0/CBWeBqK1_C4ZH3hcj3N130UYthJu5PgQgCLcB/s320/Tina%2BWindow%2B1.JPG" width="320" /></a></div><br />In October the cultural geographer <a href="http://ksfox.org/">Kevin S. Fox</a> interviewed me about psychogeography for his project <a href="http://www.geographicalimaginations.org/">Geographical Imaginations</a>:<br /><blockquote class="tr_bq">As an inquiry-based project, we ask questions and explore themes through dialogues with different texts and voices. Inevitably, our explorations return to simple, yet complex, questions…The main focus of the project is an hour-long radio essay program broadcast monthly from Radio Fabrik in Salzburg, Austria. In each episode we make brief expeditions into “the geographies of everything and nothing.” We reflect upon our relationships with the worlds we inhabit and co-create.&nbsp;</blockquote>Here’s the abstract for the interview:<br /><blockquote>In Psychogeography 101 we discuss contemporary urban exploration practices with cultural theorist and psychogeographer Tina Richardson. After tracing back to the mid-twentieth century work of the Situationist International, we outline what doing psychogeography looks like today and how it could—and should—be part of the practice of anyone seeking a better understanding of their own geographical imagination.</blockquote>You can listen to a podcast of the edited interview that went out live on <a href="http://www.radiofabrik.at/">Radio Fabrik</a> on 26th November, here: <a href="http://www.geographicalimaginations.org/season-three/">Episode 25: Psychogeography 101</a>http://particulations.blogspot.com/2016/11/psychogeography-101-geographical.htmlnoreply@blogger.com (Particulations)0tag:blogger.com,1999:blog-786934403154990603.post-3102759846871500381Mon, 21 Nov 2016 10:23:00 +00002016-11-21T10:24:05.131+00:00Anna ChismCamp BastionDubaiPsychogeography Bucket ListSister MoonshineWymondham CollegeA Psychogeography Bucket List<div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-PdlsU0n3Bog/WBSTlunEqHI/AAAAAAAACso/4U51qvFAbu8A-HAYGWh1gUs5cU9CtuOcgCLcB/s1600/Nissan%2BHut%2B1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="https://4.bp.blogspot.com/-PdlsU0n3Bog/WBSTlunEqHI/AAAAAAAACso/4U51qvFAbu8A-HAYGWh1gUs5cU9CtuOcgCLcB/s320/Nissan%2BHut%2B1.jpg" width="320" /></a></div><div class="MsoNormal" style="margin-bottom: 4.0pt;"><i><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;"><br /></span></i></div><div class="MsoNormal" style="margin-bottom: 4.0pt;"><i><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;">This interview by Anna Chism has featured in both <a href="http://particulations.blogspot.co.uk/2015/06/s-t-e-p-z-official-launch.html">STEPZ</a> and <a href="http://www.foxholemagazine.com/volume-1-gallery">Foxhole</a> (vol. 1)<b><o:p></o:p></b></span></i></div><div class="MsoNormal" style="margin-bottom: 4.0pt;"><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;"><br /></span><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;">Ahead of the release of her edited volume <i><a href="http://www.rowmaninternational.com/books/walking-inside-out">WalkingInside Out: Contemporary British Psychogeography</a></i> Anna Chism interviews Tina Richardson on those spaces and places that are top of her wish list when it comes to psychogeographical exploration.<o:p></o:p></span></div><div class="MsoNormal" style="margin-bottom: 4.0pt;"><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;">I eventually find Tina’s house just off the Leeds Ring Road. With a pub, bowls club, wooded area and dog-walking field opposite, it is a geographical combination of suburban-rural. I imagine it is an interesting space for a psychogeographer to reside. She has lived in this part of North Leeds for the past three years in a post-Victorian terraced house along with her elderly companion, ex-hippy turned nun, Sister Moonshine. <o:p></o:p></span></div><div class="MsoNormal" style="margin-bottom: 4.0pt;"><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;">Tina could not be described as a reluctant interviewee, giving interviews to anyone who will give her a minute of their time. As part of the current revival of psychogeography she is one of the ‘the new psychogeographers’, the moment whereby psychogeography is becoming increasin<i>g</i>ly self-conscious and reflexive. <o:p></o:p></span></div><div class="MsoNormal" style="margin-bottom: 4.0pt;"><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;">Tina welcomes me into her study – a room full of books and objet d’art resembling a pretentious kitsch version of Freud’s office – and we settle by the window with our rooibos. I throw my coat over a fluorescent green plaster-of-Paris version of Rodin’s <i>David</i> and congratulate her on the record-breaking numbers of pre-orders of her new volume. And we begin.<o:p></o:p></span></div><div class="MsoNormal" style="margin-bottom: 4.0pt;"><b><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;">AC: Tina, tell me the top three places in the world you would like to carry out a psychogeography-related project.<o:p></o:p></span></b></div><div class="MsoNormal" style="margin-bottom: 4.0pt;"><i><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;">TR: At the moment – and this list would possibly be different if you asked me in a year’s time – it would be Dubai, Camp Bastion and Wymondham College.<o:p></o:p></span></i></div><div class="MsoNormal" style="margin-bottom: 4.0pt;"><b><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;">AC: Well, I’ve heard of the first two, but where the heck is Wymondham College and what makes it a place ripe for psychogeography?<o:p></o:p></span></b></div><div class="MsoNormal" style="margin-bottom: 4.0pt;"><i><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;">TR: It’s actually a secondary school in Norfolk not far from Norwich and it used to be a military hospital up until it became a grammar school in 1951. It’s a publicly funded boarding school and has a noteworthy campus format, and needless to say, an interesting history, which actually includes Anglo Saxon finds. At one time the pupils slept in Nissan huts left there by the British Forces and even up until the 1980s attended classes in the huts. Only one Nissan hut remains now, as part of the school’s heritage.<o:p></o:p></span></i></div><div class="MsoNormal" style="margin-bottom: 4.0pt;"><b><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;">AC: What angle would you take if you had the opportunity to work on the campus?<o:p></o:p></span></b></div><div class="MsoNormal" style="margin-bottom: 4.0pt;"><i><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;">TR: Well, while it would be easy for me to use the same methodology I did for my PhD – a schizocartography of a campus space (in that instance the University of Leeds) – I think Wymondham College lends itself better to one of haunting. For instance, part of the original hospital has a mortuary, but more significantly than that are the anecdotal stories that have become memes promulgated by the pupils themselves. These ghostly stories about the college are passed on to all the new pupils by the older ones, often carried out in performative way on specific dates each year.<o:p></o:p></span></i></div><div class="MsoNormal" style="margin-bottom: 4.0pt;"><b><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;">AC: Tell me what it is about Dubai that takes your urban fancy?<o:p></o:p></span></b></div><div class="MsoNormal" style="margin-bottom: 4.0pt;"><i><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;">TR: Ever since I’ve been a psychogeographer I’ve been interested in Dubai. I used to teach a class on it and used it as an example of a postmodern space. In a way it is a post postmodern space. If Los Angeles represents the postmodern city </span></i><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;">par excellence<i>, then Dubai represents the next phase of urban development, whatever the name for that might be. Dubai needs its own school of urbanism and theory like Chicago and Los Angeles had. This potential school will look at a dynamics of urbanism whereby actual physical space is created from ‘nothing’, either vertically, as in </i>Blade Runner<i> and </i>The Fifth Element<i>, or horizontally, for example like Dubai, from the sea, by creating islands of sand.</i></span></div><div class="MsoNormal" style="margin-bottom: 4.0pt;"><b><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;">AC: What kind of problems might you anticipate if you were to carry out psychogeography in Dubai?<o:p></o:p></span></b></div><div class="MsoNormal" style="margin-bottom: 4.0pt;"><i><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;">TR: I’m not sure what it is like for a woman to walk in Dubai. It is not a pedestrian-friendly city, by all accounts. I did a project in Los Angeles – the city of cars – and that was interesting in a place where walking was a rare process of moving about the city. However, in regards to Dubai, my interest is in the spaces that have been formed out of the sea, such as the Palm Islands. These islands can be seen from space. They have changed the lay of the land on a very fundamental level and in an amazingly creative way.<o:p></o:p></span></i></div><div class="MsoNormal" style="margin-bottom: 4.0pt;"><b><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;">AC: Thanks, Tina. Now for your final space. Surely you’ve missed the psychogeographical boat on Camp Bastion?<o:p></o:p></span></b></div><div class="MsoNormal" style="margin-bottom: 4.0pt;"><i><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;">TR: Yes, I’m afraid that’s true. Ideally I would have loved to have done a project during the peak of its decommissioning, but it is coming to an end now. Camp Bastion is returning to the desert from whence it sprung, a bit like Dubai but in reverse. Camp Bastion was a city as well as a military airbase. It required a project in itself in the dismantling of it – actually costing six times more than that of its creation. It’s a unique space and it is this that makes it intriguing to me. Before Camp Bastion, Chernobyl was on my bucket list, but Chernobyl has been worked and re-worked a lot in recent times.<o:p></o:p></span></i></div><div class="MsoNormal" style="margin-bottom: 4.0pt;"><b><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;">AC: How would you have made your case for doing a project in Camp Bastion?</span></b><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;"><o:p></o:p></span></div><div class="MsoNormal" style="margin-bottom: 4.0pt;"><i><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;">TR: Well, I wouldn’t have passed the security checks even if there was the remotest chance they’d have allowed a civvy on the camp. They would have taken one look at my website and thought ‘There is no way we are letting that lefty subversive anywhere near this base’!<o:p></o:p></span></i></div><div class="MsoNormal" style="margin-bottom: 4.0pt;"><b><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;">AC: What other places are on your bucket list?<o:p></o:p></span></b></div><div class="MsoNormal" style="margin-bottom: 4.0pt;"><i><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;">TR: Portmerion, Fordlandia and Celebration would all be interesting places to explore, and for similar reasons, and are definitely on my list.<o:p></o:p></span></i></div><div class="MsoNormal" style="margin-bottom: 4.0pt;"><b><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;">AC: Before we finish, can I ask you what you are working on now?</span></b><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;"><o:p></o:p></span></div><div class="MsoNormal" style="margin-bottom: 4.0pt;"><i><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;">TR: I’m currently scheduling talks for the promotion of the book and working on the autumn edition of </span></i><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;">Stepz<i>.<o:p></o:p></i></span></div><br /><div class="MsoNormal" style="margin-bottom: 4.0pt;"><span style="font-family: &quot;corbel&quot; , sans-serif; font-size: 11.0pt;">Tina’s edited volume <i><a href="http://www.rowmaninternational.com/books/walking-inside-out">Walking Inside Out: Contemporary British Psychogeography</a></i> is published by Rowman and Littlefield International and will be out in July 2015. You can find out more about her work on her website: <a href="http://www.schizocartography.org/">www.schizocartography.org</a><o:p></o:p></span></div>http://particulations.blogspot.com/2016/11/a-psychogeography-bucket-list.htmlnoreply@blogger.com (Particulations)0tag:blogger.com,1999:blog-786934403154990603.post-3366410236301035084Sat, 19 Nov 2016 14:16:00 +00002016-11-19T14:28:53.583+00:00Andrew CalcuttBaudrillardevilfoucaultM. Scott PeckPost-truthPresident Trumprealitysimulationunreal#Post-Truth – Trump, Truth and Treachery in the Post Post-Modern<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-sRojoFWHaPQ/WDBc7DPqnLI/AAAAAAAACuk/Tlvp7HHb2UkFCZ2h2ZdQZtIrpopoeRYvgCLcB/s1600/Trmp%2BTruth%2BLogo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="233" src="https://1.bp.blogspot.com/-sRojoFWHaPQ/WDBc7DPqnLI/AAAAAAAACuk/Tlvp7HHb2UkFCZ2h2ZdQZtIrpopoeRYvgCLcB/s320/Trmp%2BTruth%2BLogo.jpg" width="320" /></a></div><br />There was an interesting article in <i>The Conversation</i> yesterday: <a href="https://theconversation.com/the-surprising-origins-of-post-truth-and-how-it-was-spawned-by-the-liberal-left-68929">The surprising origins of post truth – and how it was spawned by the liberal left</a>. It’s interesting to me because it could be described as coming under the general rubric of cultural studies, not least for the reference to Jean-Francois Lyotard’s book <i>The Postmodern Condition: A Report on Knowledge</i>, a key text in cultural theory. I won’t go into the article in depth - which starts by stating that post-truth is the international word of the year - as you can read it yourself. What I would like to do is include some extra cultural theory to support/expand on what the author, Andrew Calcutt, says and draw a few concepts together that are related to truth - reality, language and evil – and list them next to their respective theorists.<br /><br /><b><span style="color: red;">Michel Foucault: Truth, Discourse and Language</span></b><br />For Foucault statements, appearing as speech acts, are not about truth versus falsity, rather they designate a field of discourse that “emerges in its materiality, appears with a status, enters various networks and various fields of use, is subjected to transferences and modifications, is integrated into operations and strategies in which its identity is maintained or effaced” (2005, 118). Statements exist within a designated field, thus utilising relevant forces which dictate the validity of a given utterance. Foucault explains how the statement is partly concealed in its very deployment. ‘Truth’ is not a function of the words and sentences themselves, but the whole network of factors which form that specific utterance in the propagation of a specific statement. The statement exists through a form of appropriation and it is legitimised through the utilisation of the forces that exist, in an event-like state, around it. For Foucault “a true discourse engenders or ‘manufactures’ something that does not yet exist, that is, ‘fictions’ it” (1980, 193). In regard to the Trump presidency, we can see the power of statement and how it operates within a discourse of power, like all statements do. However, what is key to what I have written here in regards to Foucault is this manufacturing of something new, which also relates to my last post on the subject of Trump: <a href="http://particulations.blogspot.co.uk/2016/11/presidenttrump-simulated-hold-up.html">#PresidentTrump – A Simulated Hold-Up</a>. So, how does the concept of truth sit with another postmodern theorist, Baudrillard…<br /><br /><span style="color: red;"><b>Jean Baudrillard: Evil, Language and the Sign</b></span><br />In <i>The Intelligence of Evil or the Lucidity Pact</i>, Baudrillard says “It is impossible to destroy the system by a contradiction-based logic or by reversing the balance of forces – in short, by a direct, dialectical revolution affecting the economic or political infrastructure. Everything that produces contradiction or a balance of forces or energy in general merely feeds back into the system and drives it on” (2005, 4) and I believe we witnessed this process unfolding in the US presidential election. But what of truth? The people were witness to lies in the Trump election (and BRexit). These lies did not seem to matter as much as some of us expected they might – especially in the academic community (although we will always have a respective theory to why these things happen, depending on our own specialism). Well, it’s all tied up in semiology for Baudrillard. Baudrillard asks the question: “What becomes of the arbitrary nature of the sign when the referent ceases to be the referent?” (2005, 68). He goes on to explain: “The sign, ceasing to be a sign, becomes once again a thing among things. That is to say, a thing of total necessity or absolute contingency…For the sign is a scene, the scene of representation, of seduction, of language: in language signs seduce once another beyond meaning [and] the disappearance of this scene clears the way for a principle of obscenity, a pornographic materialization of everything” (2005, 68-69). In regards to good and evil, Baudrillard explains that the disintegration of the sign reduces these terms to “happiness and misfortune” (2005, 139). In the media many have said that it was the misfortune felt by the, mostly, white working class in the US that led to Trump’s win. This leads me on to the next set of terms, not by a cultural theorist, interestingly, but in a book that the article reminded me of: <i>The People of the Lie</i>.<br /><br /><span style="color: red;"><b>M. Scott Peck: Stress, Evil and the Cult Leader</b></span><br />In his book about human evil, the psychiatrist and author M. Scott Peck explains that this is what happens to individuals in times of stress: “The problem is that the role of the follower is the role of the child. The individual adult as individual is master of his own ship, director of his destiny. But when he assumes the role of follower he hands over to the leader his power: his authority over himself as decision-maker. He becomes psychologically dependent on the leader as a child is dependent on its parents. In this way there is profound tendency for the average individual to emotionally regress as soon as he becomes a group member” (from ‘Group Dynamics: Dependency and Narcissism’ in <i>The People of the Lie</i>) (1998, 223). The grandiose narcissist Trump is the cult leader <i>par excellence</i>. His self-appointed place as saviour of the vulnerable/misunderstood/side-lined makes him a ‘perfect’ leader in a #post-truth world!<br /><br /><b>Bibliography:</b><br />Baudrillard, Jean. <i>The Intelligence of Evil or the Lucidity Pact</i>. Oxford and New York: Berg, 2005.<br />Foucault, Michel. <i>Power/Knowledge: Selected Interviews and Other Writings 1972-1977</i>. Hemel Hempstead: Harvester Press, 1980.<br />Foucault, Michel. <i>The Order of Things: An Archaeology of the Human Sciences</i>. London and NewYork: Routledge, 2005.http://particulations.blogspot.com/2016/11/post-truth-trump-truth-and-treachery-in.htmlnoreply@blogger.com (Particulations)0tag:blogger.com,1999:blog-786934403154990603.post-6364677619873137820Mon, 14 Nov 2016 11:02:00 +00002016-11-14T11:04:22.730+00:00Daresbury Hallpsychogeographyruin pornurban explorationPlace-Hacking in Wonderland<div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-46PmGc2W1bk/WCmYNIAEiZI/AAAAAAAACuA/1Mk8vX6um-khICqM6yfKzH-nNNTxO0iRACLcB/s1600/Daresbury_Hall_2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://4.bp.blogspot.com/-46PmGc2W1bk/WCmYNIAEiZI/AAAAAAAACuA/1Mk8vX6um-khICqM6yfKzH-nNNTxO0iRACLcB/s320/Daresbury_Hall_2.jpg" width="320" /></a></div><br /><div style="text-align: center;"><span style="font-size: x-small;">Daresbury Hall in Better Times</span></div><div style="text-align: center;"><span style="font-size: x-small;"><a href="https://commons.wikimedia.org/w/index.php?curid=7103662">By Andy Gibson, CC BY-SA 2.0</a></span></div><div style="text-align: center;"><span style="font-size: x-small;">(all other images provided by the author) </span></div><br /><b>By Anonymous</b><br /><br /><i>There is a gap in the fence, my senses heighten. I feel fully alive as I plunge into the unknown on the other side...</i><br /><br />Ruin porn, dereliction, decay, urban exploration and place-hacking have always interested me. It is hard to explain why, exactly, and up until this year this consisted of an occasional look at related photos and videos on the internet. I was interested enough to read the book <i><a href="https://www.versobooks.com/books/1710-explore-everything">Explore Everything</a></i> by Bradley L. Garrett but was nevertheless an armchair urban explorer. I knew no-one else in the field, nor any groups in the area, and had no equipment apart from a torch, camera, and mobile phone, with no plans on the horizon.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-X8oZngfJNug/WCmY9mJI6OI/AAAAAAAACuE/vAqiqMTj7csIHx44hOp3qsryzlnEJcAYwCLcB/s1600/Paul%2B3.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://2.bp.blogspot.com/-X8oZngfJNug/WCmY9mJI6OI/AAAAAAAACuE/vAqiqMTj7csIHx44hOp3qsryzlnEJcAYwCLcB/s320/Paul%2B3.JPG" width="320" /></a></div><br />Adventures start somewhere and mine started when an article in the local newspaper caught my eye. A cannabis farm had been discovered and busted at the derelict <a href="https://en.wikipedia.org/wiki/Daresbury_Hall">Daresbury Hall</a>. I knew that Daresbury was a quiet area, and it was a sunny spring afternoon, so I put on my boots and went for a walk to see what I could find.<br /><br />Daresbury is a typical Cheshire village situated in rural green belt just south of Warrington. It has one main lane with another leading off towards Hatton. It has a few houses, a primary school, a pub called <i>The Ring O' Bells</i> and red telephone boxes. It also has a connection with Lewis Carroll at All Saints Church, which has turned the area into a kind of heritage theme park, with a visitor centre at the church, a wonderland mosaic and a weather vane at the school, a Lewis Carroll walk around the fields, plus plenty of Cheshire cats.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-9Hs2tiZBkqs/WCmZG0h12uI/AAAAAAAACuI/fDiozBgzXLUAqfalQ7Y7oZQymjaWpeF8QCLcB/s1600/Paul%2B4.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://1.bp.blogspot.com/-9Hs2tiZBkqs/WCmZG0h12uI/AAAAAAAACuI/fDiozBgzXLUAqfalQ7Y7oZQymjaWpeF8QCLcB/s320/Paul%2B4.JPG" width="320" /></a></div><br />Walking past the church towards Hatton, I see a fence covered in signs warning of security and guard dogs, which first alerts you to Daresbury Hall's grounds. It seems to be an unwritten law among urban explorers not to give too much away, or reveal how to gain access to a site so as not to antagonise the owners and have the way blocked. All I can say is that it was easy to get in. I had not planned to go in, but seeing an opportunity I just decided to go for it and was soon running across the no-man’s-land of the lawn and into cover.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-mjKYXg7f3m8/WCmZVhwq8QI/AAAAAAAACuM/KogAH2idR2E5WD6xGraQZerG9JegFrQMQCLcB/s1600/Paul%2B1.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="213" src="https://3.bp.blogspot.com/-mjKYXg7f3m8/WCmZVhwq8QI/AAAAAAAACuM/KogAH2idR2E5WD6xGraQZerG9JegFrQMQCLcB/s320/Paul%2B1.JPG" width="320" /></a></div><br />After waiting for a few moments it looked like I had not been seen. I had the place to myself and so I came out of hiding, walking past the derelict out-buildings to the abandoned swimming pool at the back.<br /><br />I spent a good two hours exploring the interior, not knowing what was in the next room or around the next corner. There was a lot of graffiti on the walls ranging from the disturbing to the childish: it looked like the place was regularly visited by the local teenagers as well as explorers. I later found out that the hall was used for zombie apocalypse events.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-9_VJPUOdzgA/WCmZbWXk_6I/AAAAAAAACuQ/c4BOKmf12TUgD9NXLj9sO3SYOfFfgS2BQCLcB/s1600/Paul%2B2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="184" src="https://2.bp.blogspot.com/-9_VJPUOdzgA/WCmZbWXk_6I/AAAAAAAACuQ/c4BOKmf12TUgD9NXLj9sO3SYOfFfgS2BQCLcB/s320/Paul%2B2.JPG" width="320" /></a></div><br />What was the appeal? Was it the ruin porn photography? Was it the trespassing - beating the system and getting in? Or being in a liminal place, a place with heightened awareness of time and transition, touched with an underlying melancholy? I was also exploring my own thoughts as I walked around.<br /><br />A couple of weeks later another article appeared in the local newspaper. A mysterious fire had gutted the hall and it also had a planning application for development - it was a listed building.<br /><br /><i>A new kind of exploration has now taken over as the locals fly drones over the area... </i>http://particulations.blogspot.com/2016/11/daresbury-hall-in-better-times-by-andy.htmlnoreply@blogger.com (Particulations)0tag:blogger.com,1999:blog-786934403154990603.post-5262457493256076720Mon, 14 Nov 2016 09:02:00 +00002016-11-14T09:02:53.754+00:00autobiogeographyDesire PathspsychogeographyRoy BayfieldDesire Paths by Roy Bayfield<div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-wDDu5i8rLlM/WCb4F0d3wtI/AAAAAAAACtQ/iJ6MUI4SarU3oZEXc2lUFNJTGSCCJOCEwCLcB/s1600/Roy%2527s%2BBook.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-wDDu5i8rLlM/WCb4F0d3wtI/AAAAAAAACtQ/iJ6MUI4SarU3oZEXc2lUFNJTGSCCJOCEwCLcB/s320/Roy%2527s%2BBook.jpg" width="210" /></a></div><br /><div style="text-align: center;"><b><span style="color: #741b47;"><i>Desire Paths: Real Walks to Nonreal Places</i> by Roy Bayfield</span></b></div><br />Roy Bayfield really walks in <i>Desire Paths</i>. But not only does he really walk, we accompany him on these “real walks to nonreal places”. This book is no theorising, speculating and proselytising text about walking by someone who views it from a distance. It is walking in the most practical, material and embodied way that only a true urban walkers can speak of. And Bayfield takes us on his journey. Describing himself as an autobiogeographer, we drift with him through the personal and three-dimensional landscape of his voyages in the physical, spiritual, virtual and human realms. This book is for both those already involved in urban walking and for the novice. For those who are new to it, its format is especially designed to open your eyes to the features of the landscape, and at the same time provide you with experimental walking exercises.<br /><br />You can purchase, and find out more about, Bayfield's new book here: <a href="http://www.triarchypress.net/desire-paths.html">Triarchy Press</a>.http://particulations.blogspot.com/2016/11/desire-paths-by-roy-bayfield.htmlnoreply@blogger.com (Particulations)0tag:blogger.com,1999:blog-786934403154990603.post-5607566581933181445Sun, 13 Nov 2016 17:49:00 +00002016-11-13T17:49:40.068+00:00becoming-womanFelix Guattari. Gilles DeleuzegenderpoststructuralismsexualitytheatreA Deleuzoguattarian Dialogue on Becoming-Woman – A Mini-Play<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-PwPwawZJEKk/WCb8-IU3BiI/AAAAAAAACtg/LoRrAPfuX6Qp2eJzhQSGVYVtB8cd406nwCLcB/s1600/Female%2BMale.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="200" src="https://1.bp.blogspot.com/-PwPwawZJEKk/WCb8-IU3BiI/AAAAAAAACtg/LoRrAPfuX6Qp2eJzhQSGVYVtB8cd406nwCLcB/s200/Female%2BMale.jpg" width="200" /></a></div><div class="MsoNormal"><i><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"><br /></span></i></div><div class="MsoNormal"><i><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">[characters: 1 x female and 1 x male]</span></i></div><div class="MsoNormal"><br /></div><div class="MsoNormal"><i><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">[standing side by side, both<b> F</b>emale and <b>M</b>ale face the audience]</span></i><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"><o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">M:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; I am a man.<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">F:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; I am <i>becoming-woman.<o:p></o:p></i></span></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><i><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">[M turns to F]</span></i><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"><o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">M:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; But you <i>are</i> woman.<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><i><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">[F turns to M]</span></i><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"><o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoBodyTextIndent" style="margin-left: 42.55pt; tab-stops: 42.55pt; text-indent: -42.55pt;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">F:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; No, I am becoming-woman. My becoming produces itself. I am always becoming, never reaching an end.<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><i><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">[pause]<o:p></o:p></span></i></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><i><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">[both M and F face forward]</span></i><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"><o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">M:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; I am male.<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">F:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; You are molar.<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><i><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">[M turns to F]</span></i><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"><o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">M:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; What do you mean <i>I am molar</i>?<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><i><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">[F turns to M]</span></i><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"><o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoBodyText" style="margin-left: 42.55pt; tab-stops: 42.55pt; text-indent: -42.55pt;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">F:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; You occupy the centre. This is your position. You cannot become if you solely remain there.<i><o:p></o:p></i></span></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><i><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">[pause]<o:p></o:p></span></i></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><i><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">[both M and F face forward]<o:p></o:p></span></i></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">M:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; OK. I am molar.<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">F:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; I am molecular.<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><i><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">[M turns to F]</span></i><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"><o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">M:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; What do you mean <i>you are molecular</i>?<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><i><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">[F turns to M]</span></i><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"><o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoBodyText" style="margin-left: 42.55pt; tab-stops: 42.55pt; text-indent: -42.55pt;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">F:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; I emit particles. I can be-between, pass through, go across. I can be everywhere.<o:p></o:p></span></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">M:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <i>[sighs, irritated]<o:p></o:p></i></span></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoBodyText"><i><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">[pause]<o:p></o:p></span></i></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><i><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">[both M and F facing each other]</span></i><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"><o:p></o:p></span></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">M:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; OK. I am molar and you are molecular.<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoNormal" style="margin-left: 42.55pt; tab-stops: 42.55pt; text-indent: -42.55pt;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">F:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; I am in a privileged position in relation to becoming.<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 42.55pt; tab-stops: 42.55pt; text-indent: -42.55pt;"><br /></div><div class="MsoNormal" style="margin-left: 42.55pt; tab-stops: 42.55pt; text-indent: -42.55pt;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">M:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; I want to become too. How do I become?<o:p></o:p></span></div><div class="MsoNormal" style="margin-left: 42.55pt; tab-stops: 42.55pt; text-indent: -42.55pt;"><br /></div><div class="MsoBodyText" style="margin-left: 42.55pt; tab-stops: 42.55pt; text-indent: -42.55pt;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">F:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Becoming-woman is the key to all becomings.<o:p></o:p></span></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">M: &nbsp;&nbsp;&nbsp;&nbsp;&nbsp; But, I have a male body.<o:p></o:p></span></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoBodyText" style="margin-left: 42.55pt; tab-stops: 42.55pt; text-indent: -42.55pt;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">F:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; You have a male body in the organic sense. Becoming-woman can be your becoming too.<o:p></o:p></span></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">M:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; How?<o:p></o:p></span></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoBodyText" style="margin-left: 42.55pt; tab-stops: 42.55pt; text-indent: -42.55pt;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">F:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; You can utilise your intensities, produce molecules and take flight!<o:p></o:p></span></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">M:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; But, I <i>am</i> sexually male.<o:p></o:p></span></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoBodyText" style="margin-left: 42.55pt; tab-stops: 42.55pt; text-indent: -42.55pt;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">F:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Sexuality is the production of a thousand sexes, which are so many uncontrollable becomings. Sexuality <i>is</i> becoming-woman. Sexuality proceeds by way of the becoming-woman of the man.<o:p></o:p></span></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">M:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; You’re <i>really</i> starting to piss me off!<o:p></o:p></span></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><i><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">[M wanders off, pauses, turns and faces F]<o:p></o:p></span></i></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoBodyText" style="margin-left: 42.55pt; tab-stops: 42.55pt; text-indent: -42.55pt;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">M:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; If I want to become-woman what will help me in this process?<o:p></o:p></span></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">F:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; You need a <i>body without organs</i>.<o:p></o:p></span></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div><div class="MsoBodyText" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">M:&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Now you’re just being ridiculous!<span style="color: blue;"><o:p></o:p></span></span></div><div class="MsoNormal"></div><div class="MsoNormal" style="margin-left: 6.0cm; tab-stops: 42.55pt; text-indent: -6.0cm;"><br /></div>http://particulations.blogspot.com/2016/11/a-deleuzoguattarian-dialogue-on.htmlnoreply@blogger.com (Particulations)0tag:blogger.com,1999:blog-786934403154990603.post-8976452659837900239Sat, 12 Nov 2016 12:54:00 +00002016-11-12T15:09:46.174+00:00BaudrillardDonald TrumphyperrealityPresident TrumpSimulacra and Simulations#PresidentTrump - A Simulated Hold-Up<div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-JYQApc5kghE/WCcPjId27QI/AAAAAAAACtw/S_zLVMq00t0MfVBI2vWsLUpAtf4xG1kkACLcB/s1600/Trump%2BSimulated%2BGun.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://3.bp.blogspot.com/-JYQApc5kghE/WCcPjId27QI/AAAAAAAACtw/S_zLVMq00t0MfVBI2vWsLUpAtf4xG1kkACLcB/s320/Trump%2BSimulated%2BGun.jpg" width="320" /></a></div><br /><div style="text-align: center;"><span style="color: #351c75;"><b>“Illusion is no longer possible, because the real is no longer possible” Jean Baudrillard</b></span></div><br /><i>On 9th November 2016 Donald Trump became President Elect of the United States of America. This was a hold-up. A protracted hold-up, admittedly, one that took a few years. It wasn’t a hold-up in the sense that immediately springs to mind, rather it was a simulated hold-up like that described by Jean Baudrillard in ‘Simulacra and Simulations’. This is what happened:</i><br /><br />In the “strategy of the real” Baudrillard explains how when you simulate something the structures around that event are such that, not recognising the event is not real, they put into play the relevant apparatus that validate the event. This adds to the realistic appearance of the event. Baudrillard gives an example of a simulated hold-up to explain his theory. He asks this: “it would be interesting to see whether the repressive apparatus would react more violently to a simulated hold up than a real one?” He explains that, since all the signs of a hold-up look real - even if you use a fake gun – you will be treated by those around you as if the whole process is real. You may be shot, a bank customer may become ill, etc: “you will unwittingly find yourself immediately in the real”. But this is what is important to Baudrillard: “a real hold up only upsets the order of things, the right property, whereas a simulated hold up interferes with the very principle of reality”.<br /><br />At the beginning of the presidential race – in fact, even before then, in the 2000 campaign nomination – Trump’s simulated hold-up began. However, he kept finding himself propelled into the real: he was never really rumbled. I am sure this was as much a surprise to him as it was to the rest of us. I am not saying he didn’t believe in each individual moment what he was saying. I am saying that because there was no other place for this simulation to function, it had to be seen as real. Since the order of power politics is only a second-order simulacra, the third level simulation is viewed as a representation that fits within the model it is represented in, not that in which it was formed.<br /><br />It was actually the case that Donald Trump’s presidential election was “inscribed in advance” because of being written in the order of simulation. What Trump said became a “set of signs dedicated exclusively to their recurrence as signs, and no longer to their ‘real’ goal at all” (Baudrillard). It worked precisely because it was a simulation.<br /><br />Baudrillard says that “transgression and violence are less serious” than the simulated hold-up “for they only contest the <i>distribution </i>of the real. Simulation is infinitely more dangerous since it always suggests, over and above its object, that <i>law and order themselves might really be nothing more than a simulation</i>”.<br /><br /><b>Related links:&nbsp;</b><br /><a href="http://particulations.blogspot.co.uk/2014/12/a-hysterical-simulacra-to-established.html">A Hysterical Simulacra</a><br /><a href="http://thelacanianreviews.com/lacanian_review_online0412.html">Donald Trump’s Lunatic Fringe</a>http://particulations.blogspot.com/2016/11/presidenttrump-simulated-hold-up.htmlnoreply@blogger.com (Particulations)0tag:blogger.com,1999:blog-786934403154990603.post-3678376678112868557Tue, 01 Nov 2016 16:01:00 +00002016-11-01T16:01:56.946+00:00Psychogeography NewsPsychogeography News - November 2016<div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-a5r3zE63Kpw/WBi8V-ig3FI/AAAAAAAACtA/gI5E78sucDkjZdHu6zJOX-EnptTm9JS3QCLcB/s1600/Water%2BTower%2BNorthampton.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://3.bp.blogspot.com/-a5r3zE63Kpw/WBi8V-ig3FI/AAAAAAAACtA/gI5E78sucDkjZdHu6zJOX-EnptTm9JS3QCLcB/s320/Water%2BTower%2BNorthampton.jpg" width="320" /></a></div><br /><strong style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">Architecture</strong><br /><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">Click&nbsp;</span><a href="https://celluloidwickerman.com/2016/09/12/responses-alison-and-peter-smithsons-architecture-london/" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">here</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">&nbsp;for Adam Scovell’s response to the Brutalist architecture of the Smithson’s and&nbsp;</span><a href="https://www.theguardian.com/artanddesign/2016/sep/28/grey-pride-brutalist-architecture-back-in-style" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">here</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">&nbsp;there is a&nbsp;</span><em style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">Guardian&nbsp;</em><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">article on the resurgence in the popularity of Brutalist architecture. This&nbsp;</span><a href="https://www.theguardian.com/cities/2016/sep/16/bad-buildings-damage-mental-health-research-anxiety-depression" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">article</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">&nbsp;discusses the poor designs of buildings in regards to mental health and here you can read a BBC&nbsp;</span><a href="http://www.bbc.co.uk/news/uk-england-hampshire-35271916" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">article</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">&nbsp;on Southampton’s concrete buildings.</span><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">&nbsp;</span><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><strong style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">City Life</strong><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">This&nbsp;</span><a href="http://www.citylab.com/housing/2016/04/istanbul-street-cats-kedi-documentary/479805/?utm_source=SFFB" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">article</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">&nbsp;is about the street cats of Istanbul and how the community collectively care for them. You can read an extract from&nbsp;</span><em style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">The Lonely City</em><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">&nbsp;by Olivia Laing –&nbsp;</span><a href="http://www.bbc.co.uk/culture/story/20160301-the-dark-side-of-the-city?ocid=fbcul" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">‘The Dark Side of the City’</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">. Urban Dreams (and Nightmares) is a one day&nbsp;</span><a href="http://beinghumanfestival.org/event/urban-dreams-and-nightmares/?utm_campaign=1534468_BH+September+launch+edition&amp;utm_medium=email&amp;utm_source=School+of+Advanced+Study&amp;dm_i=2MVF%2CWW04%2C3977W2%2C2I1ZX%2C1" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">event</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">&nbsp;in Leeds on 19th November. Here is&nbsp;</span><a href="http://www.brumpic.com/home-blog/2016/9/15/birmingham-on-film-paradise-lost" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">information</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">&nbsp;on&nbsp;</span><em style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">Birmingham on Film: Paradise Lost</em><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">&nbsp;by Andy Howlett.</span><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">&nbsp;</span><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><strong style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">Ruin Porn/Lust</strong><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">A Leeds&nbsp;</span><a href="https://leeds-list.com/culture/new-exhibition-shows-off-the-derelict-side-of-gods-own-county/?utm_medium=email&amp;utm_campaign=Nl281016&amp;utm_content=Nl281016+CID_94e805dfef4d031164a946b2f9b72f32&amp;utm_source=Campaign%20Monitor&amp;utm_term=Read%20more" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">exhibition</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">&nbsp;on Yorkshire’s abandoned buildings. And the singer, Lonelady, whose music is inspired by psychogeography:&nbsp;</span><a href="https://www.theguardian.com/culture/2015/jul/06/lonelady-ruins-are-my-idea-of-fun" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">“ruins are my idea of fun”</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">.</span><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">&nbsp;</span><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><strong style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">Walking</strong><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">Adam Scovell&nbsp;</span><a href="https://celluloidwickerman.com/2016/09/26/interview-john-rogers-on-london-overground-and-psychogeography/" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">interviews</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">&nbsp;John Rogers on ‘London Overground and Psychogeography’. And&nbsp;</span><em style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">Walker&nbsp;</em><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">a 2012&nbsp;</span><a href="https://vimeo.com/49339358" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">film</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">&nbsp;by Tsai Ming-liang.</span><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">&nbsp;</span><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><strong style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">Book Reviews</strong><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">Here are my own review-essays on the following books:&nbsp;</span><a href="http://particulations.blogspot.co.uk/2016/10/the-atlas-of-improbable-places.html" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank"><em>The Atlas of Improbable Places</em></a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">&nbsp;by Travis Elborough and Alan Horsfield,&nbsp;</span><a href="http://particulations.blogspot.co.uk/2016/10/vanishing-streets-journeys-in-london.html" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank"><em>Vanishing Streets</em></a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">by J M Tyree and&nbsp;</span><a href="http://particulations.blogspot.co.uk/2016/10/elsewhere-journal-mapping-desire.html" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank"><em>Elsewhere</em></a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">&nbsp;journal.</span>http://particulations.blogspot.com/2016/11/psychogeography-news-november-2016.htmlnoreply@blogger.com (Particulations)0tag:blogger.com,1999:blog-786934403154990603.post-3741277357616619262Sat, 29 Oct 2016 12:01:00 +00002016-10-29T13:01:21.477+01:00book reviewsDriftminefilm reviewsperambulatory hingepsychogeographyDriftmine Articles<div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-BBHzKH5MPXU/WBSOtwsJIGI/AAAAAAAACsY/JY0ZgN3zUSsb6Z5oWIqy0pe600m_aUJYgCLcB/s1600/Driftmine.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="82" src="https://3.bp.blogspot.com/-BBHzKH5MPXU/WBSOtwsJIGI/AAAAAAAACsY/JY0ZgN3zUSsb6Z5oWIqy0pe600m_aUJYgCLcB/s320/Driftmine.jpg" width="320" /></a></div><br /><i><span style="color: #666666;">Driftmine</span></i> was an online “multi-authored publication interested in the psychological, psychosocial or psychogeographical aspects of politics, society and culture. It is interested in what the political has to do with the psychological, and how anxiety, shame, and love (or its absence) influence the way our society is”. The project has now reached its end so I am just posting a new link to my own articles that were originally published there:<br /><br /><b>Heterotopias of Compensation: Travis Elborough’s a Walk in the Park</b><br /><i>Published 19 July 2016</i><br />This review-essay takes a Foucauldian look at the park by looking at it through the lens of the heterotopia. Click here for the <a href="http://particulations.blogspot.co.uk/2016/08/heterotopias-of-compensation.html">full article</a>.<br /><br /><b>Setting Up a World: Phenomenology and Cultural Amnesia in General Orders No.9</b><br /><i>Published 18 May 2016</i><br />By using the theory of Heidegger this review-essay examines specific tropes in the film that relate to cultural forgetting. Click here for the <a href="http://particulations.blogspot.co.uk/2016/05/setting-up-world.html">full article</a>.<br /><b><br /></b><b>When is a Ley Line Not a Ley Line?</b><br /><i>Published 4 June 2015</i><br />This article looks at the phenomenon of the perambulatory hinge. Comparing it to the ley line, the author uses examples in Birmingham to discuss this psychogeographical concept. Click here for the <a href="http://particulations.blogspot.co.uk/2015/06/when-is-ley-line-not-ley-line.html">full article</a>.http://particulations.blogspot.com/2016/10/driftmine-articles.htmlnoreply@blogger.com (Particulations)0tag:blogger.com,1999:blog-786934403154990603.post-6589910647662394546Wed, 26 Oct 2016 14:24:00 +00002016-10-26T15:24:15.865+01:00chaos magickideological State apparatusideologyLouis AlthusserMichel Foucaultpresupposed actualizationwill to powerWhat is presupposed actualization?<blockquote class="tr_bq"><span style="color: #0b5394;"><b>presuppose 1</b> to believe that a particular thing is true before there is any proof of it <b>2</b> to make something necessary if a particular thing is to be shown to be true or false&nbsp;</span></blockquote><blockquote class="tr_bq"><span style="color: #0b5394;"><b>actualize 1</b> to make something real or actual <b>2</b> to portray or represent something realistically – <b>actualization</b>&nbsp;</span></blockquote><blockquote class="tr_bq"><i><span style="color: #0b5394;">Bloomsbury Concise English Dictionary</span></i></blockquote><br />Presupposed actualization (PA) is the desire, ability and will to create potential realities. It works via the consciousness (and unconscious) of those involved in a particular project or programme who have a shared investment in its outcome. While operating seemingly abstractly via the psyche of the individuals, PA’s effects mean that those most invested in the programme already exist in the future space of the (to be) realised project, whether this is unconscious or not. This means that, in a sense, the completed project already exists.<br /><br />PA is not the same as belief or will, even though it utilises them in order to reach its fruition. Rather, it is the projection of the finalised product as it appears in mind and how this vision unconsciously operates via discourse in order to make it a reality. The repeating of tropes (for example: how they appear in what Foucault calls ‘statements’), the physical act of inscribing words and images that support the mission at hand, and the circulation of significant motifs in the wider community, all unconsciously create schemas that help to concretise the outcome. In an Althusserian sense we can describe this as being material in that the procedures that underpin the discourse exist in an apparatus that creates subjects specific to the cause. The ideology is driven through the material practices of communicating, operating on the subjects reflexively, and on the future proactively, such that the result is manifest in advance. http://particulations.blogspot.com/2016/10/what-is-presupposed-actualization.htmlnoreply@blogger.com (Particulations)0tag:blogger.com,1999:blog-786934403154990603.post-3569522155111240915Sat, 22 Oct 2016 14:19:00 +00002016-10-22T15:20:57.094+01:00Frederic Jamesonlate capitalismLouis AlthusserPart of the UnionPostmodernismThe Srawbsthird stage of capitalismThe Guilty Pleasures MixCD Series: Part 3 – Work/Labour<b>Work Your Body: Between the Factory and the Pay Check</b><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-l8J7NM749DU/WAtzNdsgGnI/AAAAAAAACrk/LabIgpLBqyk_sT2Dv3ucLS8raB-kpEaHgCLcB/s1600/Capitalist%2BMix%2BCD%2B-%2BCover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-l8J7NM749DU/WAtzNdsgGnI/AAAAAAAACrk/LabIgpLBqyk_sT2Dv3ucLS8raB-kpEaHgCLcB/s320/Capitalist%2BMix%2BCD%2B-%2BCover.jpg" width="315" /></a></div><br /><i>Please click here for <a href="http://particulations.blogspot.co.uk/2016/10/the-guilty-pleasures-mixcd-series-part.html">CD 1: Manchester</a> and <a href="http://particulations.blogspot.co.uk/2016/10/the-guilty-pleasures-mixcd-series-part_8.html">CD 2: Animals</a>.</i><br /><br />This is the third mixCD in the series and takes a look and work and labour within the third stage of capitalism or <a href="https://www.marxists.org/reference/subject/philosophy/works/us/jameson.htm">late capitalism</a> (Frederic Jameson). It includes music from the 1970s up till today: for example, we have The Strawbs <i>Part of the Union</i> (1973) and also Jungle’s <i>Busy Earning</i> (2014).<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-NXBvKfXl4wI/WAt0MpgS_rI/AAAAAAAACrw/IHwW6OBblNUvbOKd0fj13pC-cQPlTAzbACLcB/s1600/Capitalist%2BMix%2BCD%2B-%2BTracks.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-NXBvKfXl4wI/WAt0MpgS_rI/AAAAAAAACrw/IHwW6OBblNUvbOKd0fj13pC-cQPlTAzbACLcB/s320/Capitalist%2BMix%2BCD%2B-%2BTracks.jpg" width="309" /></a></div><br />Like the animal CD, previously, this one is of an ‘activist’ nature and it comes with an insert which says: <br /><blockquote>Work Your Body is inspired by an intervention by <a href="http://www.allystanding.com/">Ally Standing</a> and <a href="https://gavin-jr.com/">Gavin Rogers</a> that took place at the Fourth World Congress of Psychogeography in 2016. Their performance, on the street in Huddersfield (UK), was a response to Dr. <a href="https://www.hud.ac.uk/ourstaff/profile/index.php?staffid=483">Alex Bridger</a>’s walk which questioned the Northern Powerhouse. Rogers and Standing suggested that in postmodernity ‘professionals’, who were no longer able to use up excess energy by working in jobs that required manual labour, worked their bodies in other ways, such as at the gym.</blockquote>In his book <i>Postmodernism or the Cultural Logic of Late Capitalism</i> (1991) Jameson explains that in postmodernity people are abstracted from reality because of how capital operates. He believes we need a cognitive map to help us negotiate this new terrain and give us access to the reality that we cannot reach through the mediated representations that are directed to us. Standing and Rogers' intervention cleverly brings this to our attention. Louis Althusser describes our ideologically oriented subjectivity as being “the representation of the subject’s Imaginary relationship to his or her Real conditions of existence” and their intervention momentarily lifted this veil.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-eYjifv32wX8/WAt0mm975EI/AAAAAAAACr0/KG9LvW3WpIUKJh-4deO8rrevLdw_m_wNgCLcB/s1600/Exform.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-eYjifv32wX8/WAt0mm975EI/AAAAAAAACr0/KG9LvW3WpIUKJh-4deO8rrevLdw_m_wNgCLcB/s320/Exform.jpg" width="211" /></a></div><br />Co-incidentally, the day that I wrote this post, Nicolas Bourriaud’s new book <i>Exform </i>(2016) landed on my doormat. This book is inspired by the work of Althusser and on the matter at hand he says: <br /><blockquote>Free time belongs to the universe of what production has discarded – except when it can be channelled towards leisure that generates new profits…Today, the proletarian is defined as the consumer-of-the-world, pure and simple; his original patch of land – which Fordist-era factories provided so that he would employ free time in a useful manner – has assumed the immense dimensions of the ‘world of leisure’.</blockquote>While this only represents part of the story of Standing and Rogers intervention – the defunct proletariat turned user of commodities, rather than the producer of them – it does not theoretically take care of the expending of energy which their intervention suggests replaces the physicality of factory work. However, this article in <i>The Guardian</i> looks at how we may be able to make even more profit out of gym users by actually turning them into simultaneous consumer-labourers through the kinetic energy produced from their bodies: <a href="https://www.theguardian.com/sustainable-business/2015/apr/01/the-fat-burning-and-energy-producing-gyms">The fat-burning and energy-producing gyms</a>. This means the subject is no longer replacing their need to expend energy in the gym, post-industrialisation, but is instead being profited from twice: gym-user-cum-labourer. <i>Hurrah for capitalism! </i>http://particulations.blogspot.com/2016/10/the-guilty-pleasures-mixcd-series-part_22.htmlnoreply@blogger.com (Particulations)0tag:blogger.com,1999:blog-786934403154990603.post-6884689361092103463Thu, 20 Oct 2016 13:40:00 +00002016-10-22T15:20:07.240+01:00Anna ChismJack the Ripper MuseumMargaret ThatcherMark Palmer-Edgecumbepublic housing policySpare RibAdam’s Adjunct: A Review of Spare Rib<div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-OKqV2x2eb0Q/WAjHdaOZHdI/AAAAAAAACrU/Xpcz4WjhWQQH8R24aJ1-0BzwT7tMj5cxQCLcB/s1600/Spare%2BRib%2B-%2BCover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-OKqV2x2eb0Q/WAjHdaOZHdI/AAAAAAAACrU/Xpcz4WjhWQQH8R24aJ1-0BzwT7tMj5cxQCLcB/s320/Spare%2BRib%2B-%2BCover.jpg" width="268" /></a></div><br /><b><span style="color: #cc0000;">Spare Rib Magazine - Today and Yesterday</span></b><br /><b>by Anna Chism</b><br /><br />I have just acquired my first copy of <a href="https://www.bl.uk/spare-rib"><i>Spare Rib</i></a> (1972-1993) - the January 1988 edition. There were quite a few available on the well-known online auction site, but I chose this one because 1987 was the year I moved to London and I thought the content would resonate with me since it was a significant life event and my memories of that time would hopefully be well-entrenched. This post, as well as taking an overall look at the magazine, will compare some of the events mentioned with what is taking place socio-politically today.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-6yDp71kiM-c/WAjHYrnoQhI/AAAAAAAACrQ/ZciOrZ5obu0HCHRilHryzXS7Q_mB2ApKQCLcB/s1600/Spare%2BRib%2B-%2BImages%2Bof%2B1987.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://2.bp.blogspot.com/-6yDp71kiM-c/WAjHYrnoQhI/AAAAAAAACrQ/ZciOrZ5obu0HCHRilHryzXS7Q_mB2ApKQCLcB/s320/Spare%2BRib%2B-%2BImages%2Bof%2B1987.jpg" width="320" /></a></div><br />No surprise that the ‘Images of ‘87’ include Margaret Thatcher, but they also include Toni Morrison and Martina Navratilova. Black and lesbian women are really well-represented in this section which covers 3 double-page spreads. It also includes Dianne Abbot, with the caption "Britain’s first Black woman MP".<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-ggz1FWo7GvQ/WAjHQU7WUqI/AAAAAAAACrM/loJkBTAiIgc8bfUBbqQRU05DbPX4i7SbgCLcB/s1600/Spare%2BRib%2B-%2BHousing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-ggz1FWo7GvQ/WAjHQU7WUqI/AAAAAAAACrM/loJkBTAiIgc8bfUBbqQRU05DbPX4i7SbgCLcB/s320/Spare%2BRib%2B-%2BHousing.jpg" width="202" /></a></div><br />Some things never change. Despite David Cameron’s promise of more housing (after Thatcher’s decimation of the public housing system in the 1980s, which it has never recovered from), it has become apparent that <a href="https://www.theguardian.com/society/2015/aug/26/right-to-buy-margaret-thatcher-david-cameron-housing-crisis">the numbers do not add up</a>. In terms of the real numbers of houses, the current promise for more affordable housing actually includes the quantity that had already previously been promised. Also, the <a href="https://www.theguardian.com/society/2016/jan/04/end-of-council-housing-bill-secure-tenancies-pay-to-stay">dismantling of the council tenant housing system</a> continues.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-0JjIcPU_KPA/WAjHL_JX_SI/AAAAAAAACrI/ON7rZ48Z2HYYRattIbGj4Y70gkDI1wACwCLcB/s1600/Spare%2BRib%2B-%2BJack%2Bthe%2BRipper.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-0JjIcPU_KPA/WAjHL_JX_SI/AAAAAAAACrI/ON7rZ48Z2HYYRattIbGj4Y70gkDI1wACwCLcB/s320/Spare%2BRib%2B-%2BJack%2Bthe%2BRipper.jpg" width="210" /></a></div><br />This edition of <i>Spare Rib</i> also includes an article on a new computer game called <i>Jack the Ripper</i>. The writer was concerned that the horrific graphics would attract the ‘video nasty’ clientele and the article includes a quote from an organisation known as Women Against Violence Against Women: “a lot of people are making money out of the murders of six, mutilated, working-class women”. Zoom ahead 27 years and you have the new Jack the Ripper Museum in London, doing the very same. I remember the controversy at the time of its proposal and I signed one of the online petitions. Apparently the architect was duped over its use when he was involved in its design. He says the plan was sold to him as a museum of women’s history and described it as “<a href="https://www.theguardian.com/uk-news/2015/aug/05/jack-the-ripper-museum-salacious-misogynist-rubbish-london-east-end">salacious, misogynist rubbish</a>” (Andrew Waugh). So, I think we can safely say some things never change, but also that the founder of the museum, Mark Palmer-Edgecumbe, is a salacious misogynist despite previously being - unbelievably - a regional Head of Diversity at Google!<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-ycQciEQHegE/WAjHGgkk9BI/AAAAAAAACrE/NIiEr3bbT0ErZTjhREMEIogmPHQz5rb-gCLcB/s1600/Spare%2BRib%2B-%2BQuotes%2Bpage%2B28.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="99" src="https://1.bp.blogspot.com/-ycQciEQHegE/WAjHGgkk9BI/AAAAAAAACrE/NIiEr3bbT0ErZTjhREMEIogmPHQz5rb-gCLcB/s320/Spare%2BRib%2B-%2BQuotes%2Bpage%2B28.jpg" width="320" /></a></div><br />I’d like to include some of the quotes of the previous year. Below are a section of my favourite ones, plus my commentary:<br /><br />“I have never squealed or complained, not once” Margaret Thatcher<br /><br /><i>Maybe not, but there were definitely tears as you left No. 10!</i><br /><br />“Come on, any woman would be thrilled to be a sex symbol and me at forty” Edwina Currie<br /><br /><i>Idiot! </i><br /><br />“In my experience men have had their clothes off a lot quicker than I did. In films it’s usually the reverse” Cybil Shepherd<br /><br /><i>You tell ‘em Cyb! </i><br /><br />“I got the impression that she doesn’t do a lot of ironing” Dr Barnardo’s worker after chatting to the Princess of Wales<br /><br /><i>Well, ironing is not the preserve of women, but we get your point Dr Barnardo’s worker! </i><br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-tlmxfUQvBVo/WAjHBLN2G2I/AAAAAAAACrA/VP2c1DFPlIMlK6hSc_OSk2_WtjbBrT4IgCLcB/s1600/Spare%2BRib%2B-%2BAdverts.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="236" src="https://3.bp.blogspot.com/-tlmxfUQvBVo/WAjHBLN2G2I/AAAAAAAACrA/VP2c1DFPlIMlK6hSc_OSk2_WtjbBrT4IgCLcB/s320/Spare%2BRib%2B-%2BAdverts.jpg" width="320" /></a></div>http://particulations.blogspot.com/2016/10/adams-adjunct-review-of-spare-rib.htmlnoreply@blogger.com (Particulations)0tag:blogger.com,1999:blog-786934403154990603.post-104887160383549419Mon, 17 Oct 2016 14:16:00 +00002016-10-17T15:16:16.874+01:00J M TyreeVanishing StreetsVanishing Streets: Journeys in London<div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-93N-kHn6Q7I/WATcK6stiJI/AAAAAAAACqw/2hMjrurzSIwJXgnkhtSeWL4AnyPOAwIdQCLcB/s1600/Vanishing%2BStreets.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-93N-kHn6Q7I/WATcK6stiJI/AAAAAAAACqw/2hMjrurzSIwJXgnkhtSeWL4AnyPOAwIdQCLcB/s320/Vanishing%2BStreets.jpg" width="233" /></a></div><br />J M Tyree’s <a href="http://www.sup.org/books/title/?id=27598"><i>Vanishing Streets: Journeys in London</i></a> (Stanford University Press 2016) is a view of London’s streets through the double lens of a film theorist and an American who first came to Britain to study at Cambridge in the 1990s. Referencing films such as Lindsay Anderson’s <i>The White Bus</i> (1967), Patrick Keiller’s <i>London </i>(1994) and Neil Jordan’s <i>The End of the Affair</i> (1999), the book also includes references to the work of writers that many psychogeographers are familiar with, such as Iain Sinclair’s <i>Downriver </i>(1991) and W G Sebald’s <i>The Rings of Saturn</i> (1995).<br /><br />The book also includes images of the not-so-obvious that tend to interest the urban walker. So rather than the touristic images of a lovely London set out for the visitor, we have photos of retail parks and graffitied underpasses (if at any point we are in doubt that Tyree may not be ‘keeping it real’ for the reader).<br /><br />Tyree takes us from Crystal Palace to Clissold Park, Wood Green to Waterloo on his explorations of London, which as well as the mode of walking, include the use of train and bus. In addition to his references to film and literature, we also get a good sense of the person behind the text through his autobiographical allusions and those that orient him culturally, such as through nods to music or football.<br /><br />While Tyree does not proclaim himself to be a psychogeographer, the chapter entitled ‘Suggested Itinerary’, a letter from someone asking for advice on a visitor’s walk in London, says otherwise. It begins: <br /><blockquote>Dear_____,&nbsp;</blockquote><blockquote>Your questions about what to see in London as a first-time American tourist are difficult for me to answer. I’m certain most visitors don’t want to browse one-pound paperbacks and odd dishware in charity shops, or walk along the industrial remnants of the docks at night leading to the Thames Flood Barrier, or visit the Victorian sewage works that saved Tottenham from cholera…</blockquote>http://particulations.blogspot.com/2016/10/vanishing-streets-journeys-in-london.htmlnoreply@blogger.com (Particulations)0tag:blogger.com,1999:blog-786934403154990603.post-7224423180008593802Fri, 14 Oct 2016 15:05:00 +00002016-10-14T16:05:01.551+01:00Cognitive Mappingcommunity mappingElsewhere Journalemotional mappingVernacular MappingElsewhere Journal: Mapping Desire<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Jc5rU_QcuHI/WADw3Yq6pdI/AAAAAAAACqc/uBqoCjmXvNMP0MqACsjMEaIYp7jgc9qZACLcB/s1600/Elsewhere%2BJournal.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-Jc5rU_QcuHI/WADw3Yq6pdI/AAAAAAAACqc/uBqoCjmXvNMP0MqACsjMEaIYp7jgc9qZACLcB/s320/Elsewhere%2BJournal.jpg" width="272" /></a></div><br /><i><a href="http://www.elsewhere-journal.com/">Elsewhere: A Journal of Place</a></i> is now on its fourth edition. The journal is beautifully designed. I have a hard copy - a hard copy version of a journal is a rare thing in academia, where we mostly access journals online. Many academic journal are not particularly aesthetically pleasing, often having an uninspiring cover, a ‘traditional’ layout and little in terms of images. Not only does <i>Elsewhere </i>have a lovely cover, but there are beautiful images throughout (see below) and the journal is richly illustrated in both black and white, and full colour.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-04_nFlW19cc/WADw72UlkGI/AAAAAAAACqg/eqdPaxfyz4kB5pLauotmS8EQKXhSHHrggCLcB/s1600/Elsewhere%2BImage.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="235" src="https://1.bp.blogspot.com/-04_nFlW19cc/WADw72UlkGI/AAAAAAAACqg/eqdPaxfyz4kB5pLauotmS8EQKXhSHHrggCLcB/s320/Elsewhere%2BImage.jpg" width="320" /></a></div><br />This particular edition concentrates on mapping and includes geographical places such as Wales, Australia and Madeira. Subjects comprise: post-industrial inner London, community mapping, walking in the post Eastern-bloc city and an interview with a cartographer. The introduction to this edition states: <br /><blockquote>Maps can be political tools, drawing boundaries to be debated across contested territory. In mapping the land they can offer the promise of riches in the natural resources that are waiting to be exploited, as well helping us understand better a landscape and the communities that call it home. At the same time, this knowledge can threaten the social and economic systems that already exist, threatening communities and creating conflict. Maps are not neutral, and their distortions or omissions can have profound consequences. (Paul Scraton and Julie Stone)</blockquote>This final sentence draws to mind Mark Monmonier’s famous book on cartography: <i>How to Lie With Maps</i> (1991). It opens, thus: “Not only is it easy to lie with maps, it is essential".While I’m not a cartographer, maps and map-making are a fundamental part of psychogeography, so they have been of interest to me for as long as I have been in academia. I have made <a href="http://particulations.blogspot.co.uk/2010/02/guide-psychogeographique-de-university.html">my own maps</a> (and had them published), ran <a href="http://particulations.blogspot.co.uk/2011/12/emotionally-mapping-campus.html">emotional mapping workshops</a> and given <a href="https://www.youtube.com/watch?v=eE65oTUfoWU">lectures on maps</a>. While not a cartographer, I am a&nbsp;<a href="http://www.schizocartography.org/">schizocartographer</a>. Schizocartography is underpinned by the concept of desire that is a key theme of the work of the psychoanalyst turned philosopher Félix Guattari. So, I am especially interested in forms of subjective mapping (cognitive, vernacular, emotional), such as the article in this edition of <i>Elsewhere</i> entitled ‘Community mapping and nation building: Papua, Indonesia’. This is what the author says: <br /><blockquote>The act of mapping is tacit acknowledgement of the reality of modern systems, and the relenting need to define, categorise, administer and manage…The necessity for mapping is borne from a world that tells entire communities that what they know of themselves and their surroundings is not enough, is not real, not in any way that counts. (Ho Ming So Denduangrudee)</blockquote>This is a salient reminder of the modernist cartographic project, its history and its effects. But, the various forms of vernacular mapping that are employed as a counter movement are both enabling and offer hope. http://particulations.blogspot.com/2016/10/elsewhere-journal-mapping-desire.htmlnoreply@blogger.com (Particulations)0tag:blogger.com,1999:blog-786934403154990603.post-2576599393680682525Sat, 08 Oct 2016 13:58:00 +00002016-10-08T14:58:53.667+01:00animal activismbobbinsGuilty PleasureskitschmixCDSean RowleyTheodor AdornoThe Guilty Pleasures MixCD Series: Part 2 - Animals<b>Get Me Out: Between the Zoo and the Research Project</b><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-Vgs1k6vBYxg/V_j6YgX5ahI/AAAAAAAACp8/f7J6J-L0P3UgfufIasXOk99QP6ogdY4bQCLcB/s1600/Animal%2BMix%2BCD%2B-%2BCover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-Vgs1k6vBYxg/V_j6YgX5ahI/AAAAAAAACp8/f7J6J-L0P3UgfufIasXOk99QP6ogdY4bQCLcB/s320/Animal%2BMix%2BCD%2B-%2BCover.jpg" width="315" /></a></div><br />For part 1 of this series of blog posts, please click here: <a href="http://particulations.blogspot.co.uk/2016/10/the-guilty-pleasures-mixcd-series-part.html">Part 1 - Manchester</a>.<br /><br />I didn’t plan on a series of <i>Guilty Pleasures</i> CDs when creating the first one, but when I got to thinking about the subject for this CD – animals – I decided to keep the brand style of the Manchester one. This meant the layout would need stay the same and also the text. So, <i>Get Me Out</i> needed a subtitle that sounded something like ‘Between the Rollerama and the Junk Yard” and I chose “Between the Zoo and the Research Project”. This then meant that the CD was going to be animal activist in origin and the tagline at the bottom of the cover needed to incorporate ‘guilty pleasure’ somehow. Hence began the radical bent (and the ironic tone) of my G<i>uilty Pleasures</i> Series.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-m_8wu5SW6Aw/V_j6slJPR3I/AAAAAAAACqA/C9cbERmW4Mgz3n2ifSUhrGJcc8SbfGNhwCLcB/s1600/Animal%2BMix%2BCD%2B-%2BTrack%2BListing.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/-m_8wu5SW6Aw/V_j6slJPR3I/AAAAAAAACqA/C9cbERmW4Mgz3n2ifSUhrGJcc8SbfGNhwCLcB/s320/Animal%2BMix%2BCD%2B-%2BTrack%2BListing.jpg" width="311" /></a></div><br />I alluded to the kitsch nature of Sean Rowley’s <a href="http://www.guiltypleasures.co.uk/"><i>Guilty Pleasures</i></a> series in part 1 of the blog and said I would talk more about it here. Theodor Adorno describes <i>kitsch </i>as being ideological. This ideology appears as a momentary revisiting of the past in the form of what Adorno calls “musical small change” (2002: 503). They are fetishised elements that get circulated (in the case of <i>Guilty Pleasures</i> these elements are the old songs themselves). The tracks from the past become uprooted, re-contextualised and re-circulated. They are dished up to the music fan of the day without their historical roots being made apparent. This is what Richard Leppert says about kitsch music: <br /><blockquote>Kitsch invokes a past which is nostalgically remembered; as such kitsch is a means by which to forget – but less to forget the past than the present. Kitsch offers consolation, not so as to change everything but to make the anything of the here and now slightly more tolerable. (2002: 361)</blockquote>Leppert describes this past/present that is forgotten as “selectively (mis)remembered”, and he explains that <i>kitsch</i>, for Adorno, is problematic because its relationship to history is not direct and therefore the truth of history is not spoken (2002: 363).<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-ZCwX7kJ9_hM/V_j7bw52SlI/AAAAAAAACqM/nHWkRXlqF1YcZcSjASBlhnGZg9K_sTFswCLcB/s1600/Animal%2BMix%2BCD%2B-%2BInsert%2BPage%2B1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://4.bp.blogspot.com/-ZCwX7kJ9_hM/V_j7bw52SlI/AAAAAAAACqM/nHWkRXlqF1YcZcSjASBlhnGZg9K_sTFswCLcB/s320/Animal%2BMix%2BCD%2B-%2BInsert%2BPage%2B1.jpg" width="240" /></a></div><br />My being a fan of Rowley’s <i>Guilty Pleasures</i> series has been complicated by my own critique of it. The research I have carried out on <i>kitsch </i>has been illuminated by Adorno’s critique of popular music in general - also Sigmund Freud’s theories on guilt, pleasure, and so on (more about Freud in the next blog). However, I believe my own series of CDs, in the context they are presented, probably get around many of these problems. Urban Gerbil’s <i>Guilty Pleasures</i> is a) re-presenting of the music in a radical format b) using the ‘guilty pleasures’ label in an sardonic and reflexive way and c) is designed to make the listener think about the subject-matter presented to them via the packaging and the specially selected tracks.<br /><br />The next blog will be about work and labour.<br /><br /><b>Bibliography:</b><br />Leppert, Richard. 2002. ‘Commentary’, <i>Essays on Music</i>, trans. by Susan H. Gillespie (Berkeley, Los Angeles and London: University of California Press) pp. 327-372.<br />Adorno, Theodor W. 2002. 'Kitsch', <i>Essays on Music</i>, trans. by Susan H. Gillespie (Berkeley, Los Angeles and London: University of California Press) pp. 501-505. http://particulations.blogspot.com/2016/10/the-guilty-pleasures-mixcd-series-part_8.htmlnoreply@blogger.com (Particulations)0tag:blogger.com,1999:blog-786934403154990603.post-46936956140464052Thu, 06 Oct 2016 13:10:00 +00002016-10-08T14:59:29.477+01:00Guilty PleasuresManchestermixCDSean RowleySTEPZ IIThe Guilty Pleasures MixCD Series: Part 1 - Manchester<b>STEPZ II: Between the Rollerama and the Junkyard<i></i></b><br /><br /><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Zx_KIHZS0hY/V_ZLzFlHDtI/AAAAAAAACpw/2ypDoI_c6MAomk5fXULGxjUk9X6cN8cQACLcB/s1600/First%2BThree%2B-%2B1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="284" src="https://1.bp.blogspot.com/-Zx_KIHZS0hY/V_ZLzFlHDtI/AAAAAAAACpw/2ypDoI_c6MAomk5fXULGxjUk9X6cN8cQACLcB/s320/First%2BThree%2B-%2B1.jpg" width="320" /></a></div><br />This is the new <a href="http://particulations.blogspot.co.uk/2016/04/urban-gerbil-publications-catalogue.html">Urban Gerbil Publications</a> mixCD series. The previous series – <i>psy(co)motion</i> – was a collection that was inspired by psychogeography. After five CDs I felt that <i>psy(co)motion</i> had reached its limit (in regards to my own music collection, but also for other reasons) and I needed to await the emergence of the next theme which would come about through something that inspired me. I’m afraid you will not be able to find out about <i>psy(co)motion</i> at this time, as it will be featured in an academic book on creative geographies which I will be writing a chapter for. However, I can tell you more about <i>Guilty Pleasures</i>.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-1UgNIbPVYgM/V_ZIorCPOLI/AAAAAAAACpU/AIfbmcjswyIIhz_7OxchFHVxnR7lbUa8QCLcB/s1600/STEPZ%2BII%2BFront%2BCover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-1UgNIbPVYgM/V_ZIorCPOLI/AAAAAAAACpU/AIfbmcjswyIIhz_7OxchFHVxnR7lbUa8QCLcB/s320/STEPZ%2BII%2BFront%2BCover.jpg" width="311" /></a></div><br /><i>Guilty Pleasures</i> began with a CD that was inspired by the work <a href="http://www.allystanding.com/">Ally Standing</a> and myself did for the 'Loitering With Intent Exhibition' at the <a href="http://www.phm.org.uk/">People’s History Museum</a> in Manchester (summer 2016). We created a zine and artwork based on the city of Manchester, psychogeography and the work of <a href="http://johncooperclarke.com/">John Cooper Clarke</a>. Entitled <a href="http://particulations.blogspot.co.uk/2016/07/stepz-ii-official-launch.html">STEPZ II: Between the Rollerama and the Junk Yard</a>&nbsp;our exhibition submission inspired a CD of the same name. As well as music by Mancunian artists, the CD also included poems read out by the authors who contributed to the zine (see tracks 03, 07 and 11 below by Steve Kettle, G N Deans and <a href="http://sophiesparham.co.uk/">Sophie Sparham</a>).<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/--UqNiB0ZZ64/V_ZI5R06JwI/AAAAAAAACpY/c4xRyKGODWELALzjQc1YCVmHwcxnwoRYACLcB/s1600/STEPZ%2BII%2BBack%2BCover.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://3.bp.blogspot.com/--UqNiB0ZZ64/V_ZI5R06JwI/AAAAAAAACpY/c4xRyKGODWELALzjQc1YCVmHwcxnwoRYACLcB/s320/STEPZ%2BII%2BBack%2BCover.jpg" width="315" /></a></div><br />I became interested in the music genre <a href="http://www.guiltypleasures.co.uk/">Guilty Pleasures</a> (now a global brand) a few years ago and have written a number of essays and blogs on the subject from both a Freudian and Adornian perspective. Created by the DJ Sean Rowley, the brand inspired compilation CDs and club nights in the UK and abroad (I have attended the Leeds club nights in the past and I also own some of the CDs). As a music style it is interested in music that the listener likes but that is considered to have low cultural value: music that might be considered ‘uncool’ ('bad taste' would be a <i>kitsch </i>description - more on&nbsp;<i>kitsch </i>in the next post). In its initial incarnation Rowley’s <i>Guilty Pleasures</i> reflected the singer-songwriter music of the 1970s and early 1980s. It then evolved into practically any type of music from that period up to today, very often music that would be described as ‘cheese’. According to the <i>Guilty Pleasures</i> website:<br /><blockquote>Sean Rowley began the night in the 150 capacity Hammersmith Working Men’s Club in 2004 and, discovering he was not alone in his love for ELO and Hall &amp; Oates, moved the night to the Islington Academy where it resided for 2005 culminating in a Christmas party which saw Charlotte Church and Terry Hall take to the stage to sing.</blockquote>The <a href="https://images-na.ssl-images-amazon.com/images/I/3192P623BBL.jpg">sleeve covers</a> of Rowley’s CDs usually show females in ‘seductive’ poses. So, it was really choosing the image for the <i>STEPZ II</i> CD that made me think of the <i>Guilty Pleasures</i> CDs produced by Rowley. The image on my CD cover above is actually a photo I took while doing research in Manchester with Ally Standing prior to submitting our work to the exhibition. I decided to use it because it was roughly twice the proportion of one side of a CD, which meant I could then fold it back and it would become the whole image for both sides of the CD sleeve. It was actually a large poster that fitted inside a filled-in window in Manchester city centre (see below).<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-c8Ccj6SNZ3s/V_ZJtk4R8WI/AAAAAAAACpk/biAyF2UPwnQQ8CWzt6RdiLyiyJlmmtnOgCLcB/s1600/Woman%2BPhoto%2B1980s.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-c8Ccj6SNZ3s/V_ZJtk4R8WI/AAAAAAAACpk/biAyF2UPwnQQ8CWzt6RdiLyiyJlmmtnOgCLcB/s320/Woman%2BPhoto%2B1980s.jpg" width="194" /></a></div><br />Once I had chosen the cover for the CD, I then added the cheeky text at the bottom of the CD: “MANCHESTER: Your guilty pleasure!” and that was the beginning of the series. The next CD I produced was about animals, and you can read about that in the <a href="http://particulations.blogspot.co.uk/2016/10/the-guilty-pleasures-mixcd-series-part_8.html">next blog</a> along with some theory on <i>kitsch.</i>http://particulations.blogspot.com/2016/10/the-guilty-pleasures-mixcd-series-part.htmlnoreply@blogger.com (Particulations)0tag:blogger.com,1999:blog-786934403154990603.post-3125734348312301985Wed, 05 Oct 2016 09:52:00 +00002016-10-05T10:52:50.310+01:00Alan HorsfieldAtlas of Improbable Placesbody-politicDiscipline and Punishfantastic voyageJeremy BenthamMichel Foucaultthe panopticonTravis ElboroughThe Atlas of Improbable Places: A Fantastic Voyage into the Body-Politic<div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-42gJ-h8KTIo/V_TLTMEM8-I/AAAAAAAACow/zK1Q35UNsq0cpnfToFBk2Rnu39oiZ6D3QCLcB/s1600/Atlas%2Bof%2BImprobable.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-42gJ-h8KTIo/V_TLTMEM8-I/AAAAAAAACow/zK1Q35UNsq0cpnfToFBk2Rnu39oiZ6D3QCLcB/s320/Atlas%2Bof%2BImprobable.jpg" width="262" /></a></div><br />While the dictionary states that ‘improbable’ means “Not likely to be true or happen. Unexpected and apparently inauthentic”, the Improbability Principle states that “extremely improbable events are commonplace” (David Hand – statistician). So what does <a href="https://traviselborough.co.uk/">Travis Elborough</a> and Alan Horsfield’s <i>Atlas of Improbable Places: A Journey to the World’s Most Unusual Corners</i> tell us about “the obscure and bizarre, the beautiful and estranged” places contained therein? Well, perhaps there are more improbable places than we knew existed. Elborough (writer) and Horsfield (cartographer) educate us in improbable places through their atlas, categorising these unusual, surprising and secretive phenomenon under headings such as architectural oddities, floating worlds and deserted destinations.<br /><br />Covering a multitude of types of places, from off-grid or hidden spaces to underground or abandoned settlements, the book takes us on a fantastic voyage through its beautiful pages of stylishly formatted text, maps and photos. Every place discussed has a map, grid reference, description and image. We have photos ranging from the words of God to spooky doll heads, showing all sorts of places like underground railways and lost kingdoms.<br /><br />While it’s difficult to pick my favourite one out of the fifty-one described, I’m going to discuss Concrete City because I have an interest in towns that are especially built for workers, such as <a href="https://www.theguardian.com/cities/2016/aug/19/lost-cities-10-fordlandia-failure-henry-ford-amazon">Fordlândia</a> (Henry Ford’s prefabricated town from the early part of the 20th century).<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Ieqo1fwNBOQ/V_TL9iahG4I/AAAAAAAACo0/FnzsrC_jKXMUk7RZQQgzM3Tk7EeotaNuwCLcB/s1600/Concrete%2BCity%2B%25282%2529.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="231" src="https://1.bp.blogspot.com/-Ieqo1fwNBOQ/V_TL9iahG4I/AAAAAAAACo0/FnzsrC_jKXMUk7RZQQgzM3Tk7EeotaNuwCLcB/s320/Concrete%2BCity%2B%25282%2529.jpg" width="320" /></a></div><br />‘Concrete City: Garden City of the Anthracite Region’ is in Pennsylvania, US (see above image). Elborough explains that Concrete City was built in 1911 by the Delaware, Lackawanna and Western rail/mining project. It is both a new town and also part of the garden city movement created by Ebenezer Howard. The workers’ town was set for demolition in 1924, following a litany of issues relating to damp, poor sanitation and so on. However, it proved hard to destroy despite much dynamite and still remains today, now recognised as having cultural value. You can see some more images of Concrete City <a href="http://photocommentary.billlowenburg.com/concrete-city-pa/">here</a>.<br /><br />What in particular interests me about places like Concrete City and Fordlândia is that they arise as a response to the understanding that taking care of your workers is beneficial in terms of profit. Both these new towns arose in the period of post-Victorian industrialisation. We are still in the second stage of capitalism at this time, what some theorists describe as “the family wage economy”, where the husband’s income supports the whole family. We haven’t yet reached the post-World War II consumer economy where women are more widely employed, start to leave the confines of the home and are considered consumers in their own right.<br /><br />In terms of a cultural theoretical critique of these townships, one can’t help but see the downside of this being one of control of the body-politic. Power structures are materially embedded and the housing provided by 'the company' exerts more control over the worker than would be the case if the properties were not owned by the same organisation that the labourers work for. I wonder if there was also perhaps some of Jeremy Bentham’s panopticon at work here, too. In Concrete City the oblong layout of the houses means they are all looking in towards a centre, and hence at each other (self surveillance). Actually, this takes us to another of the improbable places in the book, Presidio Modelo a former prison in Cuba. Its circular buildings epitomise the panopticon (see the model of the panopticon below).<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-H2nLB0fn460/V_TMDGDfY0I/AAAAAAAACo4/MAZwohQmP8Uvk7wDosz8rCOaYLmI_JHNgCLcB/s1600/Panopticon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-H2nLB0fn460/V_TMDGDfY0I/AAAAAAAACo4/MAZwohQmP8Uvk7wDosz8rCOaYLmI_JHNgCLcB/s320/Panopticon.jpg" width="290" /></a></div><br />For Michel Foucault, the body-politic is: “a set of material elements and techniques that serve as weapons, relays, communications routes and supports for the power and knowledge relations that invest human bodies and subjugate them by turning them into objects of knowledge” (1991: 28). Foucault explains that thinking of power and knowledge as separate from each other and that they exist in detached domains is a mistake. In fact “power produces knowledge” (1991: 27). He explains: “there is no power relation without the correlative constitution of a field of knowledge, nor any knowledge that does no presuppose and constitute at the same time power relations.” (ibid.). This reciprocal power/knowledge process involves the knowing subject, the known object and also the modes used in the procurement of that knowledge. This works in regards to knowledge of the individual, in particular the body.<br /><br />You can see how this applies to the prison system, but I believe it applies to these types of new towns, too. This is what Foucault describes as “political anatomy” (1991: 28). However, he makes it clear that this is a procedure that does not decontextualise the subject, or the body: it is the analysis of a process - the body-politic - which means the individual cannot be removed from this activity and examined on their own in terms of power. They are only known in regards to this power dynamic and not in their own right. Although, we can never be known ‘in our own right’ as we always exist in apparatuses that exert power through ideology (Louis Althusser): for instance, even within the private place of the family.<br /><br /><b>Bibliography:</b><br />Foucault, Michel. 1991. <i>Discipline and Punish: The Birth of the Prison</i>, trans. by Alan Sheridan (London: Penguin Books). http://particulations.blogspot.com/2016/10/the-atlas-of-improbable-places.htmlnoreply@blogger.com (Particulations)0tag:blogger.com,1999:blog-786934403154990603.post-3467893027992929049Sat, 01 Oct 2016 11:47:00 +00002016-10-01T12:47:05.415+01:00Psychogeography NewsPsychogeography News - October 2016<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-wHKSj4dnG9c/V--iII6J6wI/AAAAAAAACok/v4r77UURYjYJxMM-LW2IDCd4VntqGZYHgCLcB/s1600/Walking%2BLike%2BGradiva%2B1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-wHKSj4dnG9c/V--iII6J6wI/AAAAAAAACok/v4r77UURYjYJxMM-LW2IDCd4VntqGZYHgCLcB/s320/Walking%2BLike%2BGradiva%2B1.jpg" width="240" /></a></div><strong style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;"><br /></strong><strong style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;"><br /></strong><strong style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">Loitering With Intent – Last Few Days</strong><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">The Loitering With Intent exhibition at the People’s History Museum in Manchester ends on the 14</span><sup style="background-color: white; color: #202020; font-family: Helvetica;">th</sup><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">&nbsp;of October, just in case you haven’t had a chance to visit yet.&nbsp;</span><a href="http://www.phm.org.uk/whatson/loitering-with-intent/" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">Here are the details</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">. You can also get a not-for-profit copy of Ally Standing's and my contribution to the exhibition&nbsp;</span><a href="http://www.ebay.co.uk/itm/172341956190?ssPageName=STRK:MESELX:IT&amp;_trksid=p3984.m1555.l2649" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">here</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">.</span><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><strong style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">Articles on Walking</strong><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><a href="https://www.theguardian.com/cities/2016/aug/06/a-good-wander-unveils-the-wonder-of-a-city-readers-on-urban-walking" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">'A good wander unveils the wonder of a city': readers on urban walking</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">,&nbsp;</span><a href="https://www.theguardian.com/artanddesign/2016/aug/18/radical-art-of-holding-hands-with-strangers-rosana-cade-walking-holding?CMP=fb_gu" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">The radical art of holding hands with strangers</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">&nbsp;and&nbsp;</span><a href="https://www.theguardian.com/us-news/2016/sep/14/los-angeles-people-walker-chuck-mccarthy?CMP=fb_gu" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">'We need human interaction': meet the LA man who walks people for a living</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">.</span><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><strong style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">Urban Spaces</strong><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">Click on the links to read psychogeography-based discussions on&nbsp;</span><a href="http://bookanista.com/leyton-mills/" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">Leyton Mills Retail Park</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">&nbsp;by Gareth Rees and the&nbsp;</span><a href="https://www.creativereview.co.uk/overlooked-the-art-of-the-humble-manhole-cover/" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">Humble Manhole</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">&nbsp;cover by Patrick Burgoyne.</span><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><strong style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">Cities</strong><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><a href="http://vanishingnewyork.blogspot.co.uk/2016/08/zombie-urbanism.html" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">Zombie Urbanism</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">&nbsp;in New York and&nbsp;</span><a href="https://celluloidwickerman.com/2016/08/28/the-london-nobody-knows-1969-psychogeographic-fluctuation/" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">The London Nobody Knows</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">.</span><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><strong style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">Conference Call for Papers</strong><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">An international urban conference in Vienna in March 2017:&nbsp;</span><a href="https://skuor.tuwien.ac.at/en/veranstaltungen/konferenz/english-unsettled-urban-routines-temporalities-and-contestations" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">Unsettled: Urban routines, temporalities and contestations</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">.</span><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><strong style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">My Stuff</strong><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;" /><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">You can see my slides for my keynote at the Fourth World Congress of Psychogeography here:&nbsp;</span><a href="http://pt.slideshare.net/particulations/the-studentification-of-urban-space" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">The Studentification of Urban Space</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">&nbsp;and you can also read a&nbsp;</span><a href="http://particulations.blogspot.co.uk/2016/09/the-fourth-world-congress-of.html" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">report</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">&nbsp;on the conference by the disgraced David Bollinger. You can view a decent-sized chunk from Walking Inside Out&nbsp;</span><a href="https://www.overdrive.com/media/2304586/walking-inside-out" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; text-size-adjust: 100%;" target="_blank">here</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">.</span>http://particulations.blogspot.com/2016/10/psychogeography-news-october-2016.htmlnoreply@blogger.com (Particulations)0tag:blogger.com,1999:blog-786934403154990603.post-6197188498799179324Sat, 24 Sep 2016 12:34:00 +00002016-09-30T09:16:50.132+01:00Loitering With Intentpsychogeography zinestepzSTEPZ IIUrban gerbil PublicationsPsychogeography Zines - Limited Edition Copies Available<div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-1lC_6JVbCDs/V-Zv-UMc8kI/AAAAAAAACoU/hQYDBb2RlQUYGlz7iQN0iUygWPuAVpaUwCLcB/s1600/20160623_153632.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="230" src="https://2.bp.blogspot.com/-1lC_6JVbCDs/V-Zv-UMc8kI/AAAAAAAACoU/hQYDBb2RlQUYGlz7iQN0iUygWPuAVpaUwCLcB/s320/20160623_153632.jpg" width="320" /></a></div><b><span style="color: #cc0000;"><br /></span></b><b><span style="color: #cc0000;">STEPZ II: Between the Rollerama and the Junk Yard (2016)</span></b><br /><br />This is the special exhibition edition. It was specially created for the <a href="http://www.phm.org.uk/whatson/loitering-with-intent/" target="_blank">Loitering With Intent Exhibition</a> which took place at the People’s History Museum in Manchester in the summer of 2016. The zine has been edited and designed by Tina Richardson and Ally Standing. <i>STEPZ II</i> is inspired by the city of Manchester, Northern Psychogeography and the work of the Mancunian Punk Poet John Cooper Clarke. It combines written pieces with visual elements and is produced on a Risograph machine, creating a unique and vibrant aesthetic. Artwork and zines were made available at the exhibition, but ran out quite quickly. Due to demand we have produced some more of these not-for profit zines. The writing takes the form of poetry, prose and includes images throughout. Size A4. You can find out more about it <a href="http://particulations.blogspot.co.uk/2016/07/stepz-ii-official-launch.html" target="_blank">here</a>, or order a copy for £3.99 <a href="http://cgi.ebay.co.uk/ws/eBayISAPI.dll?ViewItem&amp;item=172358947908#ht_500wt_1282" target="_blank">here</a>.<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-cEHdT7NZLq0/V-ZwUcmB6UI/AAAAAAAACoY/FU9QkkpaS9UwhzYpY-pdioaMHYDcyrNIACLcB/s1600/Urban%2BGerbil%2Bx%2B3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="242" src="https://4.bp.blogspot.com/-cEHdT7NZLq0/V-ZwUcmB6UI/AAAAAAAACoY/FU9QkkpaS9UwhzYpY-pdioaMHYDcyrNIACLcB/s320/Urban%2BGerbil%2Bx%2B3.jpg" width="320" /></a></div><br /><b><span style="color: #cc0000;">Urban Gerbil Zine Bundle</span></b><br /><br />This bundle of psychogeography zines includes <i>STEPZ II</i>, <i>STEPZ I: A Psychogeography and Urban Aesthetics Zine</i>, and <i>Twenty Six Psychogeography Stations</i>:<br /><br /><b>STEPZ II: Between the Rollerama and the Junk Yard.</b><br />See above for info.<br /><br /><b>STEPZ I: A Psychogeography and Urban Aesthetics Zine</b><br />This is a grassroots zine about urban life and city aesthetics. It is written by creative writers, creative non-fiction writers and also those not from a professional writing background. As well as short essays, interviews and poetry, it also includes images specially created for the zine which appear in the form of cut-outs, maps, montages and photographs. Subject matter includes: CCTV surveillance, mountain climbing and W B Yeats. The publication is now in a specialist zine library in the USA and has been included on a course at Bowling Green State University. Edited by Tina Richardson. Size A4.<br /><br /><b>Twenty-Six Psychogeography Stations</b><br />This artist’s book is by Darrant Hinisco (artist and photographer) and is edited by Tina Richardson. It is based on the famous artist’s book by Ed Ruscha <i>Twenty-Six Gasoline Stations</i>. This is a truly psychogeographical artist’s book – just look up ‘Artist’s Book’ on Wikipedia. It faithfully follows Rushca’s format and style. It includes photography and captions throughout, plus an enclosed note from the artist himself. Size A5. <br /><br />This bundle of three psychogeography zines costs £6.99 and is available <a href="http://www.ebay.co.uk/itm/Zine-Bundle-by-Urban-Gerbil-Publications-on-the-City-Photography-Manchester-/172341968086?hash=item282061bcd6:g:IXAAAOSwmLlX2WP~" target="_blank">here</a>. For further information please contact Tina Richardson <a href="http://www.schizocartography.org/" target="_blank">here</a>.http://particulations.blogspot.com/2016/09/psychogeography-zines-limited-edition.htmlnoreply@blogger.com (Particulations)0tag:blogger.com,1999:blog-786934403154990603.post-3124319626808601055Sat, 17 Sep 2016 13:38:00 +00002016-09-17T15:02:42.271+01:00Alex BridgerDavid BollingerFourth World Congress of PsychogeographyPhil WoodTim WatersTravis ElboroughThe Fourth World Congress of Psychogeography – Report by David Bollinger<div class="separator" style="clear: both; text-align: center;"><a href="https://3.bp.blogspot.com/-cm5MxXqhxog/V91EQeOlJXI/AAAAAAAACoA/P7OSInYTh-4qHh3AbIFnSt9k9oUJ_eCxgCLcB/s1600/Head%2Bof%2BSteam.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://3.bp.blogspot.com/-cm5MxXqhxog/V91EQeOlJXI/AAAAAAAACoA/P7OSInYTh-4qHh3AbIFnSt9k9oUJ_eCxgCLcB/s320/Head%2Bof%2BSteam.jpg" width="320" /></a></div><br /><i>Since I was expelled following <a href="http://particulations.blogspot.co.uk/2015/05/the-world-congress-of-perambulatory.html" target="_blank">last year’s world congress</a> I had to attend this year’s one remotely, which I was able to do thanks to the streaming of the event <a href="http://johnpophamlive.tumblr.com/%20http://4wcop.org/" target="_blank">here</a> (despite being told I was to have nothing to do with the event any more, "even at a distance"). I’d just like to say how well the <a href="http://4wcop.org/" target="_blank">The Fourth World Congress of Psychogeography</a> was put together, and attended, despite my lack of professional input. Below you can read some of the noteworthy observations I made about the conference on September 9 and 10:</i><br /><br /><b>Travis Elborough as Keynote</b><br />I think it was a coup for the conference to get such a high quality speaker when you consider the rest of the usual bunch of itinerant, rucksack-wearing, gore-tex fetishist types that made up the rest of the speakers at the conference – not that I’m bitter. Mr. Elborough was charming and gave an eloquent and entertaining talk about his book <a href="https://traviselborough.co.uk/2016/05/28/review-a-walk-in-the-park-in-the-times/" target="_blank"><i>A Walk in the Park</i></a>.<br /><br /><b>Tina Richardson’s Pretentious Talk</b><br />Richardson gave her usual affected talk, although I have to admire her for her shorter than regular talk title: <a href="http://particulations.blogspot.co.uk/2016/09/the-model-of-studentification-and-model.html" target="_blank"><i>Town and Gown: The Studentification of Urban Space</i></a>. She must have really struggled to restrain herself. Coming from a critical theory background, she tends to over-embellish her lectures with, what I can only describe as, smartass deconstruction punctuation. I was surprised to see a distinct lack of bracket use and did wonder if she was perhaps feeling a bit unwell. Other than that, her talk was tolerable. Although she did set herself up for a ‘big reveal’, her model of studentification in Venn diagram form. Like this is the first time someone has ever used a Venn diagram in a presentation! These hyped up announcements invariably fall flat, like she did later that evening when leaving The Head of Steam public house.<br /><br /><b>Alex Bridger’s Talk: <i>What is Psychogeography?</i></b><br />Dr. Bridger clearly broke into my office and stole the abstract I submitted for my talk for the event. Two bottles of spirits also ‘co-incidentally’ went missing. I thought his talk was great, but that’s because IT WAS MINE! I have nothing more to say about this man…<br /><br /><b>Tim Water’s Walk</b><br />The famous (or should I say infamous) neogeographer Mr. Waters is just a sadist. Three of those attending his walk sought me out online ACTUALLY DURING THE WALK – knowing I was no longer with the world congress – to complain about the 12 hour long walk he took them on. And all with no proper toilet break and, worse, no alcohol! <a href="https://mrdzhimbo.wordpress.com/2015/11/29/hyper-hyperreality-flux-twentysix-psychogeography-stations-by-darrant-hinisco/" target="_blank">Darrant Hinsico</a>, who had come all the way from Portugal, said "I was forced to tinkle on Harold Wilson". I also heard that a desperate splinter group actually stormed Huddersfield Town Hall after becoming so deranged after a lack of any “pep me up” (and I quote) that they began to hallucinate, thinking it was The Bastille.<br /><br /><b>Phil Wood’s Presence</b><br />When I say Phil Wood’s presence, I mean <b>'presence'</b>! Thankfully this psychogeographer not only kept the whole gathering on a professional footing, with both his flat cap and his Rob Rinderesque gavel, but also brought some gravitas to the event. To be honest, the man is wasted in this group of, what I can only describes as, losers! If I was Wood, and some have suggested that I am both he and also Luther Blissett, I would move across the Pennines and join the Western camp of the Northern Psychogeographers and get as far away from these idiots as possible! http://particulations.blogspot.com/2016/09/the-fourth-world-congress-of.htmlnoreply@blogger.com (Particulations)2tag:blogger.com,1999:blog-786934403154990603.post-8305002834590381943Sat, 17 Sep 2016 09:10:00 +00002016-09-17T10:11:14.588+01:00aesthetic capitalismideological State apparatusLouis Althussermodel of studentificationThe Fourth World Congress of Psychogeographythe model studentUnite GroupUnite StudentsThe Model of Studentification and The Model Student<div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-tSF7i1PORlY/V9wOveY1iUI/AAAAAAAACno/k345FBONGoUm0fkAYxvqR_CUo-VH7S3pgCLcB/s1600/Fourth%2BWorld%2BPsychogeography%2BCongress%2B-%2BVenn.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="185" src="https://4.bp.blogspot.com/-tSF7i1PORlY/V9wOveY1iUI/AAAAAAAACno/k345FBONGoUm0fkAYxvqR_CUo-VH7S3pgCLcB/s320/Fourth%2BWorld%2BPsychogeography%2BCongress%2B-%2BVenn.jpg" width="320" /></a></div><br />Above is my model of studentification that I revealed at the <a href="http://4wcop.org/" target="_blank">Fourth World Congress of Psychogeography</a> on Sept 9 and 10. You can click on this link to find out more about my talk, <a href="http://particulations.blogspot.co.uk/2016/08/town-and-gown-studentification-of-urban.html" target="_blank">Town and Gown: The Studentification of Urban Space</a>, but in order to situate what I’d like to discuss in this post, I’ll just include a quick quote on what studentification is if you don’t want to follow through with the last link (you don’t need to read it to understand this post, but you might find it interesting re: aesthetic capitalism): <br /><blockquote>Studentification appears when "entrepreneurial landlords and property investors accelerate the supply of private rented student housing to exploit the accommodation needs of students in specific locales." Kola Ijasan and Vian Ahmed</blockquote>My talk discussed a couple of student housing companies, in particular <a href="https://www.prodigy-living.co.uk/" target="_blank">Prodigy Living</a> and <a href="http://www.unite-students.com/" target="_blank">Unite Group</a> (the largest student housing and property management company in the UK). A few days after the conference a friend and colleague who attended the conference sent me these in the post: <i>Top Trumps</i> by Unite Group:<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-iny2-uBpkw4/V9wO1r4q75I/AAAAAAAACns/XRF4vlVi4fsCscVQlm6zLXOY_BVmvt2ygCLcB/s1600/Trump%2BCards%2B1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-iny2-uBpkw4/V9wO1r4q75I/AAAAAAAACns/XRF4vlVi4fsCscVQlm6zLXOY_BVmvt2ygCLcB/s320/Trump%2BCards%2B1.jpg" width="209" /></a></div><br />The cards feature Unite Group’s (or as they prefer to call themselves, Unite Student) student housing around the UK and instructions on how to play the game trumps (please see example below of some of their student housing in Leeds, right near Leeds Beckett University at Broadcasting Place). So not only can you see your own new home featured on the playing cards, but also those of your old school friends who are quite likely distributed around the country in one of Unite’s other student halls. Therefore you are already, in a sense, seeing something of yourself in the cards (I will build on this idea to make my argument).<br /><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://2.bp.blogspot.com/-0I60XcZj3Dg/V9wPEp6Xy2I/AAAAAAAACnw/IimgeIECTmQzqHkJLwk0Yyc3DRQybEuZwCLcB/s1600/Trump%2BCards%2B2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://2.bp.blogspot.com/-0I60XcZj3Dg/V9wPEp6Xy2I/AAAAAAAACnw/IimgeIECTmQzqHkJLwk0Yyc3DRQybEuZwCLcB/s320/Trump%2BCards%2B2.jpg" width="212" /></a></div><br />There are dozens of these properties, ranging from refurbished old priories and art deco flats to the postmodern flats you see in every city of the UK (they tend to look like they’re designed for ‘young professionals’ - with various degrees of architectural success). The cards actually tell you a little bit about the buildings. Some of the descriptions are useful and interesting, such as that for The Old Fire Station in Aberdeen: “The aptly named Old Fire Station actually still has a fireman’s pole inside”. But some are just preposterous, such as that on the card for Purbeck House in Bournemouth: “The combined height of all the residents of Purbeck House is 870 meters, which is higher than the tallest building in the world; Burj Khalifa in Dubai”!<br /><br />So what is happening with these cards? What is operating on the unconscious of the students? How is this affecting their subjectivity? I am a cultural theorist and this is what interests me, after all. Let’s assume that they are being designed to actually be ‘played’ as a card game since as a marketing tool it is important that the individual cards are seen and that the company is valued for its vast property portfolio and ‘excellence’ in student housing (see my work on the term ‘excellence’ in regards to neoliberalism and higher education).<br /><br />As you can see above, the cards all include property values on them (I’m not sure if this was the value on completion or when the cards went to print). So, in a way, we could liken this to a game of Monopoly (which my friend, above, told me they also have a Unite game of). I have written elsewhere about how the system of higher education (now run as a business in ‘the third stage of capitalism’) aims to produce ‘good’ consumer-producers, rather than individuals with knowledge for its own sake. But, I think Unite Group has taken this one step further by fully integrating the student into the capitalist process (ideologically), thus becoming party to producing ‘the model student’. The model student playing <i>Top Trumps</i>, recognising that they are now partaking in the lived experience of a product of capitalism – i.e. living in the Unite Students accommodation – is subconsciously recognising their future potential role as a ‘good’ capitalist (playing the game creates a <i><a href="https://en.wikipedia.org/wiki/Mise_en_abyme" target="_blank">mise en abyme</a></i> effect). The game they are playing teaches them the rules in regards to property development/management. The instructions for the game says “The oldest i.e. with the earliest year of opening wins” (most profit in regard to long-term investment) and “The property closest to uni wins” (higher rent can be charged due to proximity). It teaches the student how profit-making works.<br /><br />What is ideologically happening is that the model student looks at the card and sees her future self. This is the mirror of recognition as espoused by Louis Althusser. Providing an example of Christian religion he explains that “God is the Subject <i>par excellence</i>”. It is essential for the Subject of ideology that He reproduces Himself in the form of His subjects; and since man has been made in the image of God he will see himself in Him. This is a misrecognition because the individual is not actually God. Althusser discusses this mirror relationship in relation to how the <b><u>s</u></b>ubject of ideology (the individual - in this case the student in the Unite Student accommodation playing the game) connects with the <b><u>S</u></b>ubject of ideology (the power structure in which the ideology is located - in this case capitalism in the form of Unite Group) through a process of misrecognition. Althusser says that it is this “universal recognition” that becomes the “absolute guarantee” that subjects within the relevant apparatus will do what is required of them by the respective organisational body. It is essential that this ideological process be seamless, opaque and 'instinctive' for its subjects: in other words, natural. Althusser says that the effect of this subjection is that it seems like a normal state of affairs - it is just the way things are.<br /><br />The Unite <i>Trump Cards</i> are the mirror which situates the student as a subject in the machinery - the ideological apparatus - of capital. Not just as a consumer-producer, in the way the university ideologically produces students, but actually as a prospective capitalist herself.<br /><br /><b>Unite trumps the university! </b>http://particulations.blogspot.com/2016/09/the-model-of-studentification-and-model.htmlnoreply@blogger.com (Particulations)0tag:blogger.com,1999:blog-786934403154990603.post-1828281812792077136Fri, 02 Sep 2016 11:46:00 +00002016-09-02T12:46:46.365+01:00James JoyceJames Joyce SymposiumUlyssesA Reader’s Guide to the James Joyce Symposium<div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-6hI_VEJYnTc/V8fxylbjbyI/AAAAAAAACnU/DmOyHxbqyzkIiLV62BQHTxrmrAOntOViQCLcB/s1600/Ian%2BGarvie.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://1.bp.blogspot.com/-6hI_VEJYnTc/V8fxylbjbyI/AAAAAAAACnU/DmOyHxbqyzkIiLV62BQHTxrmrAOntOViQCLcB/s320/Ian%2BGarvie.jpg" width="192" /></a></div><b><br /></b><b>By Ian Garvie</b><br /><br />The article makes a distinction between readers of James Joyce and the community of Joyce scholars and addresses itself primarily to the former. It describes the location and format of the 2016 Symposium and mentions some of the subject areas of papers presented. The author puts forward a subjective categorisation of the approaches to Joyce studies. Some of the sessions are discussed in detail with a view to giving readers an insight into the atmosphere and proceedings of the conference. You can read the full article <a href="https://bloomsdayleeds.wordpress.com/2016/08/22/a-readers-guide-to-the-james-joyce-symposium/">here</a>.<br /><br /><b>Biography:</b><br />Ian Garvie was casual reader of Joyce until June 2003 when he was involved in organising a Bloomsday event in Leeds. This led to many re-readings of <i>Ulysses </i>and an exploration of the scholarly literature. Subsequently, running a local reading group and attending Richard Brown's <i>Finnegans Wake</i> group in the School of English at Leeds University has deepened his appreciation of Joyce's achievement.<br /><br /><b>Related Information:</b><br /><a href="http://particulations.blogspot.co.uk/2016/07/the-ghost-walks-in-london.html">Ghost Walks in London</a><br /><a href="https://bloomsdayleeds.wordpress.com/about">Bloomsday Leeds Blog</a> http://particulations.blogspot.com/2016/09/a-readers-guide-to-james-joyce-symposium.htmlnoreply@blogger.com (Particulations)0tag:blogger.com,1999:blog-786934403154990603.post-6077445141965530601Thu, 01 Sep 2016 08:27:00 +00002016-09-01T09:27:42.898+01:00Psychogeography News - September 2016<div class="separator" style="clear: both; text-align: center;"><a href="https://4.bp.blogspot.com/-J49fEbaXE1k/V8fmWjGM4MI/AAAAAAAACnI/Gc394mCNJ9AXMtvlg8DL5et4FRcj_7WiwCLcB/s1600/Top%2Bof%2BLibrary.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="180" src="https://4.bp.blogspot.com/-J49fEbaXE1k/V8fmWjGM4MI/AAAAAAAACnI/Gc394mCNJ9AXMtvlg8DL5et4FRcj_7WiwCLcB/s320/Top%2Bof%2BLibrary.jpg" width="320" /></a></div><strong style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;"><br /></strong><strong style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">The Fourth World Congress of Psychogeography</strong><br /><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">At the University of Huddersfield 9-10 September, this conference is for anyone interested in urban space and/or walking. There are talks and walks for all the family. All events are free, but some need to be booked due to numbers. Held at Heritage Quay. Click&nbsp;</span><a href="http://4wcop.org/" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; line-height: 24px;" target="_blank">here</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">&nbsp;for full programme and you can find out more about my own talk&nbsp;</span><a href="http://particulations.blogspot.co.uk/2016/08/town-and-gown-studentification-of-urban.html" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; line-height: 24px;" target="_blank">here</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">.</span><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;" /><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">&nbsp;</span><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;" /><strong style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">A Walk in Victoria Park</strong><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;" /><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">Travis Elborough and John Rogers walk around Victoria Park in London and discuss the history of parks in the UK. Click&nbsp;</span><a href="https://www.youtube.com/watch?v=gZT1MlNdLfQ" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; line-height: 24px;" target="_blank">here</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">&nbsp;for the 30min film. Travis will also be the keynote speaker at the Fourth World Congress of Psychogeography (above).</span><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;" /><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">&nbsp;</span><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;" /><strong style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">Trace.Space</strong><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;" /><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">You can read an article by Alex Bridger, Sophie Emanouil and Rebecca Lawthon about a psychogeography project carried out at a local arts/community project: “This project was driven by three aims, which were: to do community group-work in order to produce contributions both inside and outside of the University; to use a psychogeographical approach to playfully critique everyday life in consumer capitalist society, and finally, to consider the extent to which wider personal and political changes could be enabled.” Click&nbsp;</span><a href="http://www.tandfonline.com/eprint/VKVZ8GK796E6FCuJEmyZ/full" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; line-height: 24px;" target="_blank">here</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">&nbsp;for the full article.</span><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;" /><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">&nbsp;</span><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;" /><strong style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">Inspiral London</strong><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;" /><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">A festival of urban exploration in London 22-25 September: “4 days of stimulating urban exploration, talks, dialogues, discussion, exchange and artistic interventions, about and on London’s new spiraling pathway.” Click&nbsp;</span><a href="https://inspirallondon.com/inspiral-london-festival/" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; line-height: 24px;" target="_blank">here</a>&nbsp;<span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">for the details.</span><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;" /><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">&nbsp;</span><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;" /><strong style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">Books</strong><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;" /><a href="https://www.routledge.com/literature/posts/10140?utm_source=twitter&amp;utm_medium=post&amp;utm_campaign=160801308" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; line-height: 24px;" target="_blank">Interview</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">&nbsp;with Sam Cooper, Author of&nbsp;</span><em style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">The Situationist International</em><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">. You can access some extracts from Laura Oldfield Ford’s&nbsp;</span><em style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">Savage Messiah</em><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">&nbsp;</span><a href="http://lauraoldfieldford.blogspot.co.uk/2016/08/savage-messiah-zine-random-pages-2005.html?spref=tw" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; line-height: 24px;" target="_blank">here</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">. You can find out more about Travis Elborough and Alan Horsfield’s new book&nbsp;</span><em style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">Atlas of Improbable Places</em><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">&nbsp;</span><a href="https://www.quartoknows.com/books/9781781315323/Atlas-of-Improbable-Places.html" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; line-height: 24px;" target="_blank">here</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">. And you can read about Simon Springer’s new book&nbsp;</span><em style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">The Anarchist Roots of Geography</em><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">&nbsp;</span><a href="http://www.upress.umn.edu/book-division/books/the-anarchist-roots-of-geography" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; line-height: 24px;" target="_blank">here</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">.</span><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;" /><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">&nbsp;</span><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;" /><strong style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">Urban Space</strong><br style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;" /><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">You can read the following by clicking on the links: The National Trust celebrates&nbsp;</span><a href="https://www.theguardian.com/artanddesign/2015/sep/07/concrete-plans-brutalist-buildings-to-be-celebrated-in-national-trust-tours" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; line-height: 24px;" target="_blank">brutalist buildings</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">, the history of&nbsp;</span><a href="http://allday.com/post/9262-how-graffiti-evolved-from-simple-scribbles-on-the-wall-to-full-blown-artwork/?exp=3&amp;utm_source=ADS&amp;utm_medium=FBO&amp;utm_campaign=HIP" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; line-height: 24px;" target="_blank">graffiti</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">, and John Rogers and Iain Sinclair look at&nbsp;</span><a href="http://thelostbyway.com/2016/08/new-mounds-rewiring-psychogeography-london.html" style="background-color: white; color: #2baadf; font-family: Helvetica; font-size: 16px; line-height: 24px;" target="_blank">London’s Mounds</a><span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px; line-height: 24px;">.</span>http://particulations.blogspot.com/2016/09/psychogeography-news-september-2016.htmlnoreply@blogger.com (Particulations)0